Steel Notes Magazine January 2017

INSIDE THE GRACELAND COMPOUND

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Stevie Nicks & Chrissie Hynde @ Sands Event Center

Remembering Carrie Fisher

Notes Magazine RUSTYSteel COOLEY

Gary Hoey Review @ M15 in Corona

Rock Your Way Jewelry Designs by Bev Kurtz

Lehigh Valley Local Band Social Call In Memoriam 2016: Saying Goodbye to the Celebrities Steel NotesWe Magazine Lost in 2016 1 www.steelnotesmagazine.com

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INSIDE January 2017

FEATURED

4 Stevie Nicks & Chrissie Hynde 12 16 18 24 38 42 48 52 60 66 70 73 78 79 81 84 86 88 89

STEEL NOTES MAGAZINE STAFF LISTING ADMINISTRATIVE

Sands Event Center In Memoriam 2016: Saying Alexxis SteelePublisher/Editor-InGoodbye to the Celebrities We Lost in Chief 2016 Guido ColacciFishing for a Galaxy Far, Far away: Assistant Editor Remembering Carrie Fisher By Jerry Saravia Mick ReynoldsProofreader/Copy Inside the Graceland Compound Editor Pictorial Interview: The King Of Shred Rusty Jeffrey HeldDesign/Layout/Cover Cooley Guitarist Gary Hoey Review Josie Janci Getting Social With Lehigh Valley Sales Based Band Social Call De Palma (2016) Review By Jerry Saravia PHOTOGRAPHERS Marlowe B West Takez Manhattan Sheri Bayne Presentz an interview w/ Alice Bob Klein Espinosa-Cincotta Gary Preis Interview: Gus G Talks Firewind Ozzy Brian Smith Osbourne Future Solo Record Derek Mitch Interview with Lady Grace Travis Eisenhard Last Gentleman Smuggler by Nikki Brian Limage Palomino Ron Shurey “Philosophy” Of Metallica by Luca Dave Hummell Alan Ottenstein Cerardi Larry Dell Food is Not Only Food by Alessia Brian Matus Bastianelli Bill Des Jardins Rock Your Way Jewelry Designs by Bev Kurtz VIDEOGRAPHERS Save the Hippies Comic Poetry By Yvonne Sotomayor Lisa Koza Poetry by Dylan McIntyre Larry Dell Brodian's Banter Terror In Kashmir

STAFF WRITERS Alexxis Steele Marlowe B. West Dana Saravia Jerry Saravia Guido Colacchi Victor Colicchio Mick Reynolds Sheri Bayne The Gypsy Poet Noah J Gambino Kelly Mitch Tony Angelo Mike Dorn Drama D Karma Moonbeam Bob Klein JennyCat Foxxy Roxxy Yvonne Sotomayor Stormy Boz Scott Saxon Johnny Gibbs Luca Cerardi Alessia Bastianelli Scott Aber Todd Sobczak Monique Grimme Nikki Palomino Stewart Brodian Matt Roman Daniel Diefenderfer Rex Maurice Oppenheimer JR Muffley Traci Dunton Shaw Jr Peterson Patrick Campbell The Grouch DC Ryder Josie Janci

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Show Review

SANDS EVENT CENTER NOVEMBER 19, 2016

January 2017

Stevie Nicks and Chrissie Hynde with the Pretenders

By Alexxis Steele, Photos by Bob Klein

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In pure enchanting fashion, the ethereal beauty of Steve Nicks and her music is very much still in demand, as was evident by her record breaking 14 minute sold out show at the Sands Event Center.

For many of her fans it was a thrill of a lifetime to get to see her perform live, but for others a disappointment that they did not get to partake of the evening with the legend.

Stevie played her top hits during the course of the evening in true Stevie fashion, while storytelling, not forgetting to grace the stage with her signature spins. The highlight of the evening was when during her popular song she made with Tom Petty (Stop Draggin My Heart Around); Chrissie Hynde appeared onstage and performed the duet with Stevie as the crowd erupted in approval. This night was a great match with two of the most notable female vocalists of the 80’s together on one bill.

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Chrissie Hynde, the 80’s guitar rock darling with her sultry voice looked like time did not miss a beat. She came out onstage in an Elvis tee shirt tight straight legged jeans and boots, and when she strapped on her guitar, you knew she meant business.

Chrissie performed several of her signature hits, along with music from her solo disc, touring with her band in support of her album “alone” We welcome the future possibility of Stevie and Chrissie performing together again in 2017!

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T KS SE C I N E I STEV

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CHRISSIE HY NDE & THE PRETENDER S SET LIST

1. ALONE 2. GOTTA WA IT 3. MESSAGE OF LOVE 4. PRIVATE L IFE 5. DOWN THE WRONG WA Y ( CHRISSIE HYNDE) 6. HYMN TO HER 7. BACK ON THE CHAIN G ANG 8. I’LL STAN D BY YOU 9. DON’T GET ME WRONG 10. STOP YOU R SOBBING ( KINKS COVER) 11. MY CITY W AS GONE 12. HOLY CO MMOTION 13. MYSTERY ACHIEVEMEN T 14. MIDDLE O F THE ROAD 15. BRASS IN POCKET

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In Memoriam

CELEBRITIES WE LOST IN 2016

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ynolds Debbie laRneM ercer Photo by A

2016 was a cruel year in the entertainment industry with so many celebrities that had passed away. Never in history have there been so many industry deaths in one year. Here is the list of high profile people and entertainers that we are paying homage to and sadly had to say goodbye.

1. Fidel Castro 2. Muhammed Ali 3. David Bowie 4. John Glenn 5. Jose Fernandez 6. Nancy Reagan 7. Janet Reno 8. Arnold Palmer 9. Gordie Hawn 10. Antonin Scalia 11. Shimon Peres 12. Keith Emerson 13. Alan Thicke 14. Florence Henderson 15. Garry Shandling 16. Gene Wilder 17. Patty Duke 18. Edward Albee 19. Harper Lee 20. Joe Garagiola 21. John McLaughlin 22. Abe Vigoda 23. George Kennedy 24. Garry Marshall 25. Robert Vaughn 26. Doris Roberts 27. Ron Glass 28. Phyllis Schlafly 29. Tom Hayden 30. Kenny Baker 31. Leonard Cohen 32. Maurice White 33. Merle Haggard 34. Phife Dawg 35. Glenn Frey 36. Sharon Jones 37. Attrell Cordes (continued)

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(continued) CELEBRITIES WE LOST IN 2016

38. Pat Summitt 39. Craig Sager 40. John Saunders 41. Morley Safer 42. Gwen Ifill 43. Rob Ford 44. Elie Wiesel 45. Boutros Boutros-Ghali 46. Henry Heimlich 47. Alan Rickman 48. Anton Yelchin 49. Zsa Zsa Gabor 50. Greg lake 51. Prince 52. George Michael 53. Carrie Fisher 54. Debbie Reynolds

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Fishing for a Galaxy Far, Far Away: Remembering Carrie Fisher

By Jerry Saravia (Pseudo Film Critic) "I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks."

– Carrie Fisher When I first saw the original “Star Wars” in 1977, I was at once mystified by what I saw – a space epic unlike anything anyone had ever seen before. Of course, the story was old-hat and the chivalrous

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heroes and the nasty villains were nothing new. But it is how it was directed and how it was acted that breathed new life into the flashiest of Flash Gordon-like serials with souped-up special effects. At the end of the day, though, it was the characters that people loved. Even if you did not see “Star Wars,” you still knew the names Han Solo, Luke Skywalker and Princess Leia. Leia was the sole female lead in the film and over the course of four more movies, she stood out as Han’s romantic interest and Luke’s sister – she was strong with the Force. So was Carrie Fisher, a remarkably witty screenwriter, script doctor and best-selling author who had the courage to poke fun at herself. I am not sure she ever took “Star Wars” seriously, at first (her claims of sexism over the course of the original trilogy are not unfounded, bear in mind that metal bikini), but over the years, she saw the rapid rise of an out-of-this-world fan base and held it as something rather special in her career. She once said about the iconic “Star Wars”: “I got to be the only girl in an all boy fantasy, and it’s a great role for women. She’s a very proactive character and gets the job done. So if you’re going to get typecast as something, that might as well be it for me.”

In hindsight with her iconic role of Princess Leia, many adolescent boys in the late 1970’s and beyond dreamed of being Luke Skywalker (as I did), the callow farmer who rescued a pretty princess from the throes of the evil Empire. However, she was adept at firing a blaster, made sarcastic comments (“Will somebody get this big walking carpet out of my way?” when referencing Chewbacca)

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and consistently argued with space pirate Han Solo, calling each other names. She was not the standard damsel-in-distress who needed a male to drag her along, heck, she rescues the beaten, worn-out Luke in “The Empire Strikes Back” and rescues her man Han, held in frozen carbonite in “Return of the Jedi.” Through the course of the Skywalker saga, Leia was forthright, honest, caustic and fearless. Pure Carrie.

Carrie Fisher went on to appear in many films, some rather glorious and indelible (“When Harry Met Sally”) and some rather lame and unforgivable (“Under the Rainbow,” a forgettable Chevy Chase flick involving behindthe-scenes shenanigans during the making of “The Wizard of Oz”). Sometimes she held her own with egotistical male movie stars such as the womanizing hairdresser Warren Beatty played in “Shampoo” and, of course, the shy Harrison Ford in the “Star Wars” flicks, and sometimes she managed to include sly commentary about herself (such as a brief role as a former actress who bears a resemblance to Carrie Fisher bitching she almost got the Leia role in “Scream 3” if she only slept with George Lucas). When she played a by-the-Bible-book nun in “Jay and Silent Bob in Strike Back” who unintentionally gives off the idea that she wants a sexual tryst with Jay (Jason Mewes), Carrie showed how perfect her comic timing was, especially her double take when the goofy Jay goes downstairs. More appropriately, she had a gift for romantic comic timing, as in her brief scenes with the late Bruno Kirby who plays her husband in “When Harry Met Sally.”

During the split-screen moment where Kirby is on the phone and Carrie is on her own phone (landlines to the rest of you), the timing (all shot in one take) is impeccable including the line the couple both utter simultaneously: “Do you want to go out for breakfast?”

and alcohol with varying degrees of success, and also nurtured by marrying singer Paul Simon (Ha! I hope she would have liked that line). Her advocacy for mental illness and for recognition thereof inspired many who had that incurable disorder. But it was also her sharp-as-a-tack humor, her ability to poke fun at herself and her illness (“I hope to be the cover girl of Psychology Today”) that kept a lot of us admiring her.

Forthright, honest, caustic and fearless. She may have left us for those heavens above and for those galaxies far, far away, but her fans are legion. May the Force always be with her.

Offscreen, Carrie had a bipolar disorder and spoke out on the mental illness that she helped to nurture with drugs (prescription and otherwise)

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http://www.attractionsmodels.com/

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Inside the Graceland Compound Pictorial

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Interview

The King Of Shred Rusty Cooley

By Andrew Catania

Can a childhood birthday present set the entire course of future for someone? This might be quite a random and subjective thought to ponder, but that’s what happened to Rusty Cooley’s life, to say the least!

Who knows what the person had in mind when he presented Rusty with a guitar on his 15th birthday. The guitar turned out to be that lucky charm that one needs just once in their life, to meet their fate and make everything fall into place. The moment his fingers first encountered the chords, it was the defining moment of his life, and he has never looked back since.

His interest in music landed him into the supervision of a couple of instructors in the initial years of his learning phase.

However, disgruntled with the way guitar lessons were taught back then, Rusty opted to test his own mettle and decided in favor of a self-learning approach.

This proved to be just the right learning medium as it not only improved his basic knowledge about the physics of guitars, but also helped him familiarize with the tact and intricacies of the chords. This probably is the reason why he’s titled as the ‘Fastest Guitarist in the US’ as well as a master shredder.

Rusty’s career debut as a guitarist was different from his contemporaries, unlike a typical debut norm of a studio album or record label release. Rusty, through his self-taught approach, had become so competent at playing guitars that he started giving guitar lessons at a local music store. In 1989, at the age of 19, he kick-started his professional playing career with the famous rock band Revolution.

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After a couple of performances on ‘Metallurgy’, ‘Metallurgy Unplugged’ and an EP release, Rusty parted ways with the Revolution and joined hands with Dominion. The same year when Dominion broke up, Rusty bagged the title of ‘The Best Guitarist in Houston’ in the Guitar Master Series Contest.

After spending a couple of years polishing and refining his skills, leading ‘World Class Guitar Leading Techniques’ (a local TV show), and teaching at the World Class National Guitar Techniques for 3 consecutive years, Rusty joined Outworld in 1997.

Rusty released his personal guitar playing tutorial, called the ‘Shred Guitar Manifesto’, in 2000, which managed to gain endorsements from Seymour Duncan Pickups and Jackson Guitars. In 2003, Rusty released a solo album titled ‘Rusty Cooley’ to his name. The same year, he was ranked as the ‘7th Fastest Shredders of All Times’ by Guitar One Magazine, in April 2003.

Rusty’s style has evolved from a variety of genres, including Country, Classical, Funk, Blues, and Rock. His initial inspirations include some legendary names including Becker, Bach, Vai, Tafolla, Kotzen, Firkins, Malmsteen, Gilbert, Paganini, Holdsworth, and Rhoads.

Rusty has also tested the luthier in him, releasing his signature six-stringed Dean model in 2007, and the improvised eightstringed version named after his initials, ‘DC RC-8’, in 2011. Rusty’s lead work has been promoted in the ‘Double Brutal’, Death Machine’s second album. Rusty has been affiliated with a number of acclaimed luthiers, including Morley Pedals, Ibanez Guitars, GHS Strings, Maxon, and Jackson Guitars. He’s currently endorsed and recognized by Dean Guitars.

Rusty marked his return to the playing domain by joining ‘Day of Reckoning’. He also released a new album ‘Into the Fire’ last year along with other band members. Aside from bagging various recognitions and acclaims, Rusty has been imparting his treasure trove of theoretical and practical knowledge and intricacies of guitaring through regular lessons. He will make a special guest appearance in ‘John Petrucci’s Guitar Universe’, a guitar camp to be held in August of 2017. Rusty has continued teaching and putting music out with Day of Reckoning. I spoke with Rusty to catch up on what he’s been doing.

You’re teaching guitar lessons all day and night in Texas?

Well not all day and all night. I don’t start until 3 in the afternoon and I’ll go until 3 to 9 and then sometimes when I get home I’ll do skype stuff, like after this interview I’ve got a Skype lesson. I was out-of-town for a couple of days from Friday to Sunday night doing a guitarclinic in Maryland and just doing some make up stuff, you know just business as usual

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What are you doing presently? I know you’ve got Day of Reckoning happening Yes, I’ve got Day of Reckoning. We’ve got a CD out and its one of two parts it’s Into the Fire Part 1 and we just released that well not just its been out for a little while but we released that and then ran into a couple of hiccups with band members and we got a new drummer which we had to import all the way from Bangalore India.

It’s sad when you can’t find a drummer you know in your hometown or let alone in the United States but he’s an amazing drummer so he’s been back and forth a few times but he’s moving over and he’ll be a permanent feature after the first of the year. Then we had an issue with our bass player he just had too many commitments with some personal issues so we had to find somebody to replace him and I thought that was going to take forever but we actually found his replacement pretty quick and that’s not any reflections on his playing he’s an amazing bass player but I just got lucky and it was a guy I tried to get in the band a long time ago was available named Michael Milsap or aka Dr Froth he doesn’t actually play a bass he plays an AT Stick it’s got like 8 strings on it or something 7 or 8 strings and it’s got the full bass range and it’s got strings like you find on a guitar as well and he does all this tapping and crazy stuff so it fits in with all the insanity so just trying to get out there and get things rolling again you know. You know it’s been a long time between Outworld and Day of Reckoning so it’s just not easy finding guys that play on that level that are committed and dedicated and can do it so. We’ve done some cool things this year. We did a tour with Darkest Hour earlier this year and then we just opened for Alter Bridge in Dallas at their CD release party. That was cool and some other things just trying to get the momentum and get it rolling again you know what I mean? It’s a long time in the process I’ve been reading in 1996 you said you couldn’t find any musicians, you did not have any musicians in your hometown that just didn’t even satisfy you, you did your own solo thing, is that pretty much where it started?

At the time when I decided to do an instrumental album It wasn’t so much that I wasn’t satisfied with the level of players it was just you know sometimes you’ve just got to take a breather. I needed a change and that’s when I decided, you know I had my son and I had taken a year or so off from teaching and was trying to reevaluate life; my assessment. I was 26 at the time you know I had to go through some changes; metamorphosis and get back on the right track and really assess what I wanted to do and how I was going to do it. Luck of the draw it’s all a timing thing really because when I started writing that instrumental album I started playing 7 string at the same time as my first child and started going back to teaching and the internet started to take off and I just happened to be there at the right time to be known as ‘internet guitarist’ or whatever whether that has a positive or negative I’m not sure. I can surely tell you this if it wasn’t for the internet I wouldn’t who knows what would have happened and how else do you reach the world without getting out there touring? Back then you would swap cassettes with everybody to find out about guitar players and bands you know so it’s just luck of the draw I guess, I don’t know but it all kind of came together at the same time and then I had to get back out there and find guys in my hometown that could play the stuff. So really my instrumental band became Outworld and that’s when we got a singer. The instrumental album didn’t have a real drummer on it me and my old keyboard player Bobby I would give him rough drafts of the songs that I had programmed drums for and I’m not a drummer by any means so I gave him the stuff and he spiced it up to what it became. Before he played keys, he was a drummer. Basically, the drums that ended up being on the instrumental album were a combination of the three drummers we had gone through in that year. We kind of took the best parts and spliced them in and turned them into what became so there’s a little bit of all them guys on there somewhere even though they didn’t play on it. It’s tough man!

I understand! You started teaching your third year of playing Yes

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That’s mostly unheard of. You didn’t like the people that were teaching you?

Well the thing is I would have taken lessons and continued to take lessons if I could have found teachers that taught me that kind of stuff. I got my guitar and signed up for my first month of lessons and it was like Twinkle Twinkle little star and stuff like that and ironically, I didn’t being a teenager, you know I would come in every week and say hey you should look at this Van Halen riff my friend showed me and my teacher is going “and what did you practice?” So, open position chords that you strum on acoustic and it wasn’t really much interest to me. After a month of lessons with him he told my mom, it’s just not working out so I basically just got fired I guess, if you can be fired from guitar lessons. He said why don’t you try my friend, so I signed up for a month of guitar lessons with this guy and after two weeks of lessons from him I quit because it was the same thing, just a different teacher. And that’s when I found out about Metal Method. I call it self-educated. I’m not self-taught. Self-educated you know through books and stuff like that. A friend of mine had been carrying around an ad that he had cut out of Hit Parade or Circus Magazine back then for heavy metal guitar lessons which was Metal Method Doug Marks and whatnot. He had it in his wallet and I said dude if you’re not going to use that, let me take it. So, I ordered my first two lessons from Metal Method and it was all over from there because it was exactly what I was looking for because it was like taking lessons from Randy Rhoads or Eddie Van Halen or whatever because it was guys playing the stuff that I wanted to hear and was listening to and he was teaching it you know. So, I did the whole Metal Method’s course and then just started buying books and that turned into VHS tapes, that kind of dates me but that’s Ok! I’m lucky and fortunate to have grown up in that era because that era is some of the famous rocking guitar players that ever existed came from that era and don’t really get it or respect that a lot of people don’t realize how much Yngwie or Randy Rhoads or Eddie Van Halen plays the same guitar and I get it. A lot of those guys can play faster than some guys but that’s not what it’s about. It’s about what they brought to the table you know. It’s not just getting up to their speed they brought a whole new style of guitar. They did things that no one was doing before or at least in the main stream media you know. And going back to the internet thing there was no internet back then so you know if there was someone else doing it somewhere it wasn’t like they got online and saw them doing it or heard them doing it you know. We all tapped into similar sources so that was cool. So, it just built from there and this was even before Yngwie came out and Randy Rhoads was my base influence when I was getting started and whatever Randy did I wanted to do so Randy taught so of course I wanted to teach. Randy listened to classical music so I started listening to classical music. I would absorb anything I could any interview, any bootleg cassette or album whatever I could find I had to have and unlike now those days I was starving for information whereas now online you can get as much information more which is not always a good thing because you don’t take it for what it’s worth sometimes I think. It’s like I like to buy cd’s or buy albums I don’t want to buy one song you know how do you get to know an artist from one song? Well I bought the one song, then I bought one song over here or they probably didn’t buy it because I don’t think kids know today know that you buy music. I think they just think that it’s free you just get online at this certain website and you download it or hijack it or whatever you want to call it but that’s a whole other rant I’ll save for later.

I tell everybody that if you support the artist try to go to their website. Try to buy the CD directly from them. Anything, T shirts, guitar picks anything that you get through your website because that’s how you must survive. If you are not out on the road 360 days a year like some of these bands are because the music Industry is not what it is anymore Yeah, I honestly don’t completely blame them and I probably should but I think it’s from lack of information. I think sometimes that people are just naive and just assume that because you have an album out or whatever that you’re like rich you know. I think the music industry and artists and certain level of actors are the only people who experience this I’m not

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sure ,maybe I’m being naive but it’s the only industry where you can be world-famous and be struggling at the same time you know what I mean. And it’s the only industry that you don’t necessarily go for the best of the best because it’s based on style and what the media is shoving down your throat you know what I mean. People don’t know to look elsewhere, how do they find out you know. And it’s just like non-musician types don’t really look beyond the radio. A lot of people just get in their car and turn on the radio and whatever it is, it’s like background noise. I mean if you watch the NBA or NFL you don’t just root for the guy on the bench you want to see the best of the best get up there because the excel and they’re great at what they do. But when it comes to musicians their art is not necessarily about how good they are or how good their choreograph is or what their stage show looks like it’s not even about its performance it’s about the music sometimes well most of the times it’s not even about the music and stuff the show you know, so the musician just gets lost in it. It’s a matter of taste I suppose because music is in the ear of the beholder so to speak and lack of education can also be a problem too That’s true! Your kind of getting ahead of my questions here. (laughter) Sorry man!

No, that’s Ok! Do you still have the Peavey Decade Amp and the Peavey T27 your first guitar?

No man, I don’t. That first Peavey guitar I think I sold to one of my school teachers for their kid and I don’t know what happened to the guitar maybe the guitar went with it. My best friend who always says I quit playing because Rusty kept getting better than me but he had a Peavey also and I ended up with that. First, we turned it into an Eddie Van Halen guitar and took it out in the garage and spray painted it, put all the pinstripes all over it and later I turned it into my Steve Vai meets Yngwie guitar which we painted fluorescent green and scalloped the frets and that one again, I don’t know where that one vanished to. It just funny looking back and seeing how things come full circle that I started with Peavey guitars and amps and ended up going on to endorse their amps you know it’s cool. But yeah, I have no idea where that guitar is at OK. You’ve gone through Ibanez you’re with Dean Guitars now. How did you get involved with Elliot and Dean Guitars?

Well that’s an interesting story. I got involved with Dean with a good friend of mine Mark Tremonti was at the Dean factory cause Mark’s a PRS guy so he was there with a friend of his Bill Beck who is a Dean artist also they just live by one another and they’re friends so Mark was tagging along and Elliot was talking to Mark and Elliot said hey many we’re trying to corner the shred market do you know anybody and Mark says well yes of course! You need to call my friend Rusty and that’s where it all started. This was like, I think it was around December 2005 I think, if I remember correctly, I guess it’s been a while now and he asked me if I was going to NAMM in January and luck of the draw again I had been endorsing Intellitouch Tuners and one of the guys said hey man why don’t we get you out to NAMM this year? I said OK so it was all a last-minute thing. So, I told Elliot yes, you know, I am going to be there this year. So, he said well stop by the booth and let’s talk. I said OK. So, I get out there and I sat by the booth and we’re talking and sheepishly we’re talking and I say well I don’t really play the crazy shaped guitars I play more like super Strat guitars you know what I mean. Because I wanted to hear more of what he had to say but I knew I’m not really like the ML type player you know like Dime plays or V’s but I went by and I talked to him anyway and he offered me a signature deal and he offered to build me whatever guitar I wanted to build and along the way on the conversation I brought up the fact that I play 8 string guitar and I played two different versions. I played an 8 sting that was high string A lowish B and I played an 8 string that was high E to low up sharp and I mentioned you know it’s like I don’t want to be playing a Dean Guitar and endorsing a Dean Guitar on this song and playing this brand of guitar on another song and this brand of guitar on another song which he completely agreed which I really didn’t think about that but why would he want me playing anything else but Dean Guitars and the Fan Frets is not an easy guitar to make and they never made one before and he looks over to one of his guitar builders and says, hey man can we do that? And the guy looks over and says, yes, we can do that! And that was it. February, they had me fly into Tampa they picked me up and took me to the Dean Factory and signed the RC 7. So, that’s pretty much how that happened. It’s cool. Just like that you know and its funny I had also been with another guitar company before for Ibanez I

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don’t like mentioning company names but this company got bought out by Fender and after that happened it wasn’t very cool. Then Ibanez called and I went with them and I was happy to go with them because I’d been playing Ibanez 7 strings before that and then when I got the call from Dean it was an obvious, hey yes! Yes, let’s do this because the prior company wasn’t interested in any of my design ideas. They didn’t want to do anything to change how their guitars looked and when I got with Dean my Dean the RC 7,8 & 6’s were designed to the very last details down to my specs down to volume, knob placement, pickups to the cutaway neck thickness, fret size I mean every detail of my guitar. I mean that’s how they believed in my ideas. The previous company wouldn’t listen to my ideas and a year after my guitar came out the previous company started putting out with a guitar with my ideas on them it’s like oh, I get it!

Was this Ibanez?

No I’m trying not to name names it’s the best thing to do when you’re with a company, they don’t want to hear me saying other companies’ names and I understand that I got you When’s the RC 9 coming out?

I don’t know about that yet because I’ve already had a 9 string and I wasn’t really that happy with it because when you have a high A to a low B you must have a fan fret I’m not sure if you’ve seen, do you know what I’m talking about fan fret?

Yes And if you go any lower that means the fan must be even greater so I’m not sure that a greater fan for a high A to something below an F sharp I don’t think, what I would want with a 9-string guitar would be high A to low F sharp. That would be my version of a 9 string because I don’t want to go lower than an F sharp it’s just like bass town. I’m not sure the technology is there for it yet because the 9 string that I had been 23.5 to a 26.5 and that’s a good fan and the low string was still just too floppy and I wasn’t happy with the pickups but this is way more before anyone else did anything like that. I did the 9 string in like, I did my first 8 string in 2001 I think and I did my 9 string during like 2004 or 2005 You were doing 7 strings in ’95 & ’96 weren’t you?

In ’96 I got my first 7 string yes and when I got that, I put up my 6’s and never looked back. I started playing the 8 string with the high A because all the classical influences the violin stuff. There’s no way to get up in that violin range and play some of those classical lines and I didn’t even know that such a thing existed and a friend of mine sent me a web link with these guitars and I said oh, I’ve got to have one of those. As far as innovativeness goes I think the high A string is much more challenging than playing a low F sharp model. With low F sharp model you can still have standard straight frets and when you go down to the low F sharp you just change on the same fret you know but when you have a high A string you’ve got that B string transference so that shifts everything over one and plus you’ve got one more string above that throws everything off a little, it’s much harder to grasp than learn how to play fluently than it is to go into one lower string and most of the guys that play low F sharp string aren’t doing anything really innovative with it, it’s just rhythmic stuff which that’s cool but it’s not really challenging taking the instrument to some place new

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You just had a guitar come out back a few weeks ago, didn’t you? It’s the RC8 but with a different style of graphics on it. Isn’t it?

What was it? You said it was an 8 I believe it’s an RC 8. I just saw it. Because I saw it on Guitar Center and it says available 11/4. It’s a new model Oh! I haven’t seen it.

Oh OK It might not be a new model. It might be a that they just now started carrying it. If you have a link for it, I’d like to see it Yes, OK! It’s got a nice price tag of $2,505.00 Yes, can you send me that link so I can look at it?

Yes, I’ll send it You know what they’re making now is RC 6’s which is a smart move because regardless of how you know of the 7 & 8 string guitar more people play a 6-string guitar. I think the innovative idea is to go on to the RC 7 & 8’s. A 6 string should be able to reap those benefits as well. There’s a company called Axe Palace that ordered a bunch of custom USA 6’s but the cool thing the thing about Dean is you can call up Dean and have any version of my guitars made. Say you want an RC 7 in hot pink with purple polka dots and green inlays or whatever, they’ll build you any version of if you want. A lot of these guitar shops like Drum City and Guitar Land and Axe Palace or what not, they’ll call up and they’ll have several of their own design configurations. Like we want this kind of wood on the body and this kind of wood on the neck and pickups and tuners. It’ll be an RC 7 but it will be built to their choices of wood and paint, pickups and stuff like that so this might be something they put together just for Guitar Center that I haven’t seen yet or it’s something that Guitar Center hasn’t carried and new to them Here it is. It says Xenocide. It says right here available 11/4/2016 I don’t know if it was just out of stock I don’t know. If you can give me the link, copy and paste it to where that text box is I can look at it. I’d like to do that. I’d like to see what it is because that is a USA priced guitar. Let’s see, look here I don’t know if they’re out of stock on it or not but that’s new This isn’t new but it’s new for them. I don’t think they carried USA models until this point. So, this is the first version of the RC 7. This is what the very first RC 7 looked like except for some of the modifications that we made to it. I’ve changed some things on the body since then but this basically represents the RC 7 in its truest form and the very first form we ever released. So, they’re carrying USA models now, that’s cool They have the lesser expensive models and that’s what I was going to ask you. The Dean models that are in the $400, $500, $600 $700 range, they’re made overseas. Do you have any input with the international models that are made in China and Korea?

Absolutely! I do because the import models used to be RC 8 models up but they haven’t been up until recently. They had a different neck spec on it a different, one of my things that were super important to me was that we got right and they changed factories and everything changed.

That doesn’t represent what the new imports look like. The new imports look just like the Xenocide up there that’s got the sticker price of $2505.00. You can see if you look at the skull model the upper horn is different it’s not as thin and that’s one of the main things. You can’t see the other things I am talking about unless you can see the guitar on the neck. That’s cool man. Thank you for making me aware of that I do know this, sometimes with the imports sometimes you get lucky with some of the wood. Most of the import models are supposed to be made from alder and my USA models all the bodies are mahogany with a maple top or just all mahogany. A couple of students come in with Xenocide’s and just by the weight alone I can tell it’s not alder you know. So, I think getting an import sometimes you run across something you might not have gotten somewhere else. A good example of that is like Eddie Van Halen’s first guitars, the one’s he built by himself. He used to get those parts I think from Charvel and he would build great necks and bodies and he didn’t know what that meant so he would just take the B

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grade stuff and look at the tone he got out of all that you know that is some of the greatest guitar tone recorded. Another one is like James Hetfield look at the flying V that he played on all those Metallica records that he’s still famous for that tone. That’s not a Gibson that’s an Epiphone you know. Most people don’t know that they thought it was a Gibson. It’s really an import Epiphone V not a USA Gibson I didn’t know that When the Megadeth situation came around and they got in touch with you, I read just like anybody that you were for it then you kind of stopped in your tracks, like I don’t want to play solos of 20 years of different people from Marty Friedman all the way up, how did you weigh that?

What really happened was that’s not really what happened at all. My number one decision not to play with Megadeth, which gets overlooked because I think the way Blabbermouth posted it and after Blabbermouth posted it everybody else posted the same thing. Blabbermouth posted Rusty Cooley turns on Megadeth and it wasn’t like that at all. If you watch the interview there’s a video interview that I did and that’s where all this came from. They just cut and pasted things out of it but if you watch the video interview I turned down Megadeth because (yes, my daughter) I got divorced in 2011 she asked me to move in and I said, of course, I felt like I had already missed enough of her life that I don’t want to miss

any more of it. If I go do this Megadeth thing she’s going to have to move back in with her mother, I’m going to be gone and I just thought about it the grand scheme of things and 15 years from now when I look back and know that I was here and not on the road playing other people’s music you know when that’s not what I got into it for. I looked at it like this, what could Megadeth do for me that I can’t already do on my own? You know most of Megadeth’s fans probably already know who I am is that going to help me sell my own music? No. What am I going to do? I’m going to be on a tour bus for 18 hours a day play a couple of hours of other people’s music, even though it’s Megadeth one of the greatest metal bands ever! You know, I love Megadeth. It was an honor and Dave Mustaine was nothing but a true gentleman to me the whole time which is the exact opposite of what the media was saying. I never saw that side of Dave he was super freaking cool. I just couldn’t you know I write too much music and do too much of my own stuff to sit on it you know. It takes too long to do what I want to do anyway and if I go out on the road and do this I mean I’m not going to get to any writing to record my own solo’s and I’m sure that will be overseen. I don’t know now that I know where I am mentally I don’t know that I would ever be happy playing for anyone you know and no matter how big the gig was. I don’t know I think I’d just have to do what I must do because that’s what I do Exactly I can’t really express it any other way. Maybe you know I certainly would have gone out and tried it if my daughter wasn’t living with me and I certainly would have done that. What I didn’t want to do is I didn’t want to get out there be two or three months into it and go this is not what I want to do! Because I don’t want to waste anybody’s time especially Megadeth’s.

You got some backlash about your decision.

Yes and I try not to get involved in all of that stuff because you know people, if I see myself being misrepresented or misunderstood sometimes I will chime in but I don’t usually I try to stay out of that because I didn’t join the band because my mom fell out of the truck and was dying, it doesn’t matter what you were doing or whatever they have predisposed beliefs about you and you can’t change their minds theirs no use trying to bend to that level. I just don’t get that whole

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thing you know because if I’m on the internet I’m going to go somewhere that I want to be and go look at the things I want to look at. I’m not going to go surf and find the things I don’t like so I can go hang out there, you know. Just move on. If you’re not into it just click on the next link and just keep going. I don’t have time to spend and waste on negativity when I can find things positive and inspiring that influence me or work on things that motivate me to do better and be a better person. I don’t need the whole negativity thing and fucking shit!

Did you help test out Jason Beckers pedal? How did that come about?

You know it was just logistics thing you know I had to test it out which it was an honor to be able to help whatever I could do so that’s kind of how that happened.

Are you using your old amps?

No, I’m not really playing that stuff now. The company got bought out, changed people and I don’t know. I’m back to using what I was using before that which honestly I ‘m much happier with which is I got a Bogner Uberschall and a Squall Nitro a Peavey 6505 plus and I use two of them at all times just based on my mood or whatever that night. I might switch one out and put the other one in but I always run two heads at the same time. So, I’m running those and I’m endorsing EMG pickups and I have been forever, love that stuff! Swiss picks there’s the new one, 2.0 Oh, wow you’ve got the thick ones!

Oh, yes and I actually pretty much designed this one pick too because Swiss Picks contacted me about a year before I started playing this stuff and they sent me a model and it didn’t have the point on it you know like this does and the edges had a different kind of edge on it. They didn’t even make 2.0’s at the time and I told the guy thanks, man I really appreciate you sending it out but I use something that has a point on it or pointier and different kind of edges and he said cool. That was the last that either of us thought about it for a while. Within the next year, he’s like hey where you at? I’m at NAMM and I have some picks for you to try out. So that was the year I didn’t go so he sent me the pick it looked just like this but it’s a the cheddar model ‘Sharp Cheddar‘ that’s why it’s orange and not yellow like swiss but it was made out of a different material and while I liked it and I was definitely going to do the deal I really wanted him to try a different material I think the original material there made out of is called Derlin or something like that and I wanted something that had more attack in the and looked brighter and he was really hesitant on it and you know looking back he would tell me well if you don’t really want to use the picks man don’t do it. I said well it’s not so much that I don’t want to use the picks I just don’t want to sell on something until we try it you know; can we at least try it? Finally, he tried it and when he got one in his hands he said oh this is so awesome I love it dude! I said see! You should have listened to me six months ago, (laughter) Right!

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So, it’s funny I kind of must laugh and joke with him about that but anyway, that’s the Swiss Pick it’s amazing I love it. It’s got a great attack it’s got great tone. So, I use that and I’ve got my own signature model strings with S.I.T. Rusty Cooley 7 string signature set and it’s almost like I’ve got to go down the line. EMG pickups, Dean Guitars, the strings, Intellitouch tuners these little guys right here the clip on the head stock, awesome! I’ve got my own signature model cable with Spectraflex and on my pedal board I use Morley wah’s and I use Maxon OD808 in the flanger and MXR. I’m not endorsing MXR but I have one of their gigs on my pedal board and I’m currently trying to hook up with TC Electronics so guys if you’re listening. I’m good friends with John Petrucci and John sent me some contact information so I’m trying to get in touch with them. John sent me one of his signature model pedals’s that they make called Flashback, no not the Flashback, it’s a modeling pedal that’s got like flanger and chorus and stuff like that on it and some different things but I’m using the Flashback delay and then I use, I just got one of these the new model of this , this is made by Radial Axis it’s the Switchbone 2 my pedal board has the original switchbone on it and they just sent me this one to try out so I use that and this is what allows me to go into two different heads. Once I plug-in all my pedals I’ll come out of my last pedal on my pedal board and plug it into this and then this will go out into two separate heads and it’s got all kind of cool features on it so I can just put an A/B box it’s got adjustable gain and mid features and like a mute function so that if I switch my guitars I just hit the button I can just unplug I don’t have to hit standby on both heads you know which makes it convenient with live performance and stuff like that so that’s really cool I love those and that’s pretty much it. I’ve got a little Voodoo labs power supply thing that power up all my pedals and I think that’s pretty much it. Probably forgetting something so sorry if I forgot you guys You hit on a topic just a few minutes ago, about the state of the music industry, YouTube was brought up by like Nikki Sixx and others that you guys weren’t being compensated fairly just like Spotify takes like 10,000 different people to listen to a song before it’s considered like one record sale Right How do you feel about that?

Yes, well we personally did not release our stuff on Spotify because of that. We did iTunes and Tunecore. Tunecore is a company that will take your stuff on iTunes and stuff like that. That was a better route to go financially because that’s just ridiculous you know, I mean really, it’s just hard enough to make a living you know and for somebody like that to just want to take that much of it and play the hell out of it and most of the kids aren’t even buying it anyway the music industry is crazy I don’t even know where to begin on it. It’s a whole new thing because with technology now you can record your album at home you almost don’t need a record label but at the same time that means you’ve got to get out there and do everything on your own financially you know which most of the time getting out on the road they don’t have the money to begin with so then that’s a whole new thing and when everybody is ripping your stuff off and you aren’t getting paid well how are you making money? Well it goes back to completely making money off touring so you’ve got to have money to put into touring and when you don’t have money to put in the van or the trailer all that stuff so it’s crazy out there. I don’t know what’s going to become of it because you know I had some friends that are in big high-profile bands that the way they make their money is totally different from when they made it you know now because of the way things are. It almost seems impossible for a band to ever get to that level like Van Halen or Ozzy or any of the bands we grew up listening to like that massive level of where you’re playing in arenas and things like that. It’s almost impossible it seems nowadays.

It is You know what I mean? Music has changed a lot too so.

Is iTunes and Apple Radio that better for you financially than Spotify or Amazon?

Well, I don’t know. I’m not doing the Spotify thing but if I’m on their it’s certainly not because I put it on their somebody else did and I’m not aware of it. So, somebody is making some money out there and it’s not me In 2008, you remastered your 2003 release?

Right. Yes, the 2008 release was different just a remix and remaster of the original release. We re-did the drums. The mix

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sounds so much better. I was always dissatisfied with the original release because of the recording because I was doing it on my own it’s not like I went in the studio one day and set up recorded all the guitar tracks and was done and when you do that over a period it’s done in sessions. You’re not getting the same mic placement you know it’s not the same thing because it’s set up differently Right It’s not like when you set it up and you don’t tear down until you’re done recording the album. The tone doesn’t remain consistent. So, I was always just dissatisfied with it in that area and you know when I was getting it mixed there were financial issues there. You just always had to cut corners and at some point, you let go and that’s what I did but I could come back later and get it to sound the best we could with what we had to work with you know. And writing an instrumental album was a chore. Everybody always asks, when are you going to do another instrumental album? It’s like it’s not like I don’t want to do another instrumental album I like to play the guitar. I don’t enjoy writing drum parts and bass parts and keyboard parts and all that stuff and when I’m writing an instrumental album you know that’s where I’m back to. If I had some musicians to sit down and work with you know to write their own parts and it was the right situation, you know if I could go in the studio and walk in and not leave until we were recording this album and not leave until we were done you know I would do that. That would be cool. That would be the ideal situation really. Doing it working on it here and there spread out over a period and having to sit down and write drum tracks and program bass lines and keyboards and all that, it’s just not very appealing to me you know I could be working on becoming a better guitar player worrying about the things that I really need to worry about instead of that so that was the downside to it you know. That’s the things that I didn’t enjoy it. The things that I did enjoy it far out shadow that I mean that’s what landed me on the road map so I’m very thankful for that but I only did the instrumental album again to go with back what we were talking about earlier that just happened to be what I was doing earlier when the internet took off. You know I always liked playing in bands I wasn’t interested in being a solo artist per say but that album came out when the whole internet thing took off and that’s what the world got to see me first, outside of Houston. So, that’s what everybody thinks of first when they generally think of me as a guitar player, the instrumental guy and it was never intended to be that it was just kind of a break. You know I took a break from the local scene and you know like we talked about earlier to just kind of take a breather and regroup and the rest is history.

Are you using social media to your benefit as to reaching out to existing fans or to people to know more about you? Are you embracing social media? Because some musicians aren’t Yes, I mean that’s how I got my starts. So absolutely. I don’t do it as much as I used to because there are so much social media. It’s like I’ve got like 5 Facebook pages that I’m involved with. My personal page, my band page, Day of Reckoning, music school, there’s like two music school band pages. So, there are 5 Facebook pages, I’ve got a Twitter page, I’ve got a YouTube channel, I’ve got Instagram, LinkedIn, you know that’s a lot of multimedia to keep up with.

I know I sent you a request (laughter)

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Right! So, that’s like going back to a team of one when it comes to stuff like that you know. So, I try to keep up with it as much as I can and what I try to do is I try to only get on that stuff when I’m doing something productive. I try not to get on there to surf around just to see what everybody’s saying and just waste time because my time is very limited. So, when I do get on, it’s work and I get sidetracked. You must maintain as I said, living on the music train is like a freight train you either get on or get out-of-the-way. And if you’re not continually you know making some sort of updates or keeping the fans aware of what you’re doing you don’t stay current. Social media is a great advantage that’s the way you stay in tune with the world, not unless you’re out on a world tour. If you are on a world tour you’re only on one part of the world at the time There you go!

So, the only way to stay global is the world-wide web.

Gotcha! What can we expect from you in 2017?

You can expect Day of Reckoning – Into The Fire Part II with our new drummer. Jarred redid all the drum sets on part II, that’s going to be awesome. And because we did the drum tracks we’re retracking all the guitars and probably the solo’s and stuff like that as well also that’s going to be a fresh release. Hopefully, we’re going to be out touring. There are talks for us doing some touring with Tremonti and his band. There are talks of us touring with Nile and some other things. That’s the goal to get out there and get on the road and really bring the music to the people. I mean I haven’t been able to do it in the past but it’s doable now so that’s the big thing to just get out and play. So, put out some new records. I’m doing something brand new it’s the John Petrucci Guitar Universe next August. I’m going to be one of the teachers at that so it’s a four-day event. Yes, it’s a four-day event and it’s up in New York. John Petrucci Guitar Universe four-day and four-night Summer Shred Festival in Glen Cove Mansion in Glen Cove, New York. It’s me Andy James, Tony Mac Alpine, Andy McKee, Mike Mangini and of course John Petrucci. I and John have been friends for a long time and he was one of the first guys that I think he requested me to teach out there with him so it’s awesome Andy James, Tony Mac Alpine, Mike Mangini wow!

Yes, dude! Me too I’m so excited, Tony Mac Alpine is one of my original guitar hero’s you know after Yngwie. Tony set the whole world on fire really in that era and that style of guitar playing so it’s going to be cool man. I had the pleasure of meeting Tony it was right before he got sick or before he made any kind of announcement that he was sick and had to go into the hospital and all that stuff. He played in Houston and I got to meet him and have him sign my Edge of Insanity cd and sorry not my cd my Edge of Insanity vinyl record. I’ve got that on vinyl that and Maximum Security as well as all the early Shrapnel stuff I’ve got it all on vinyl you know Steeler, Vicious Rumors with Vinnie, which Vinnie signed the Vicious Rumors album back right before Time Odyssey was released. He did a clinic in Houston back then and I met him back then, had him sign the Vicious Rumors vinyl and Mind’s Eye so it looks better!

You know Outworld was a challenge. I think in the end before Outworld broke up the only people from Houston were me and Bobby everybody else, Matt was from Washington state, Shawn was from Georgia, Carlos was from Brazil. Bobby and I were the only two Houston natives really left the band and we had to go all the way to India for our Day of Reckoning.

Wow! So, that’s crazy you know? That’s the beauty of the internet you know we saw Facebook posts and since it’s since those video demo’s you can see those online. I was just playing with it, it’s impeccable. I mean I this goes to show you how good the guy was. Whenever we would bring in drummers to audition on Day of Reckoning we had an additional test besides being able to play the songs because anybody with any technical ability can copy someone’s song you know what I mean. The true test for me in joining the band is how well they can write on the spot. So, after we get done auditioning all the songs, I’ll just throw some new riffs at him for song ideas and nobody that we brought in could ever get anything that I was trying to show them on this new stuff no matter how well they covered the old drummer’s parts. Me and the old drummer had great chemistry. I could no matter what I threw at him he would just start riffing off it and that’s what I need. I need somebody that can write on the fly that’s what most kids and upcoming musicians are missing there. They use Pro tools and copy and pasting ideas back and forth via the internet and online and e-mail. That’s not how you write as far as I’m concerned you write in a room with a few guys and a band on the fly. You’ve got to be able to play in real-

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Steel Notes Magazine time. Not have something to listen to in a few weeks and figure out what you’re going to play to it. It’s GO time, you step up to bat and you play. The point that I’m trying to make is that you know, no matter what I showed these guys and told these guys in rehearsal room is it never is or was happening and so Jarred the new drummer on a whim I sent him this mp3 of me just playing guitar to a click and one without the click and I said here man see what you can do to this and the next morning I had it back in my inbox and I didn’t even say a word to him about what I wanted or what my vision for the song was or nothing and he played exactly what I was looking for and not a word had to be spoken. That’s what happens when you have chemistry with people. You don’t have to say a word. Or when you’re playing with people who are on your level you know what I mean? Because when you’re playing

with professionals what’s spoken is through music not through words you don’t have to tell somebody what to play. I might suggest but I don’t have to explain to someone how to play or approach playing to the part before he plays to it so that is super

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Follow Rusty on social media: www.rustycooley.com www.facebook.com/realrustycooley www.facebook.com/rustycooley1 www.twitter.com/rustycooley1 www.youtube.com/mrrustycooley www.linkedin.comrustycooley1

important. In Outworld we had guys that would call and go well I think I can play, I’d like to try to play some double bass it’s like, this is not on the guy training man! You either commit or you don’t.

New Shows Added To The Season!

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Lee Rocker

Founding Member of the Stray Cats Fri., Feb. 3 7:30 PM - $36/$26

The Naked Magicians

Sat., Feb. 18 - 7:30 PM

$

55 (with VIP Meet & Greet)/$35/$25

An evening in conversation with

Yanni

Up close and personal on the Piano

Tues., March 7 - 7:30 PM 225(with VIP Meet & Greet) $79/$61

Colin Mochrie & Brad Sherwood

Sponsored by 99.9 The Hawk

Co-Op Bop

Hypnohype

Ron White

7:30 PM - $25

7 PM & 9:30 PM - $52/$47

Sat., April 15

Fri., April 21

Sponsored by The Morning Call

Thu., April 13

7:30 PM - $67/$57

$

Mature Audiences 18+ only Sponsored by 99.9 The Hawk

Presented in partnership with PA Jazz in the Acopian Ballroom Proceeds benefit the FREDDYŠ Awards

Olivia Newton-John

Fri., June 9

www.tatersalad.com Mature Audiences

Sponsored by CAT Country 96

7:30 PM - 21 $

The Scared Scriptless Tour

Sat., Nov. 18 8 PM - $47/$42

Sponsored by 99.9 The Hawk

Choose your seats online! Visit www.statetheatre.org For A Complete Schedule!

453 Northampton St., Easton, PA s 610-252-3132 s 1-800-999-STATE Steel Notes Magazine Join the State Theatre E-mail List for up to date information! www.steelnotesmagazine.com Non-profit Center for the Arts Fees apply. Regardless of age, everyone needs a ticket.

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Music Review

Gary Hoey at M15

By Tony Lepre, Photos by Renee Jahnke

The M15 in Corona is an excellent venue to see and experience live music, so I was very pleased to be able to experience this show. Gary Hoey kicked off his set with “12 days of Christmas” and went right into “Deck the Halls” (which included a medley of “Joy to the World” and “Hark the Herald Angels Sing”). Right from the start, He laid down the gauntlet of his signature melodic style of instrumental soloing and structures.

He then introduced his band mates for this tour.

AJ Pappas on Bass , who has been on 4 tours and Matt Scurfield Drums who has been with Gary on 11 tours. Gary told us all this was his 21st Ho Ho Hoey Christmas Tour and this was the last show of the tour. The crowd ate it up and cheered!

The band started into “Little Drummer Boy” and played the song “Kashmir” into the ending jam!

Gary then told us about the new album “Dust and Bones” debuting at #5 on the Billboard blues charts and how thankful and grateful he was for that.

He introduced the song “Peace Pipe” (released 1996 “Bug Alley”) with an inspirational message of Peace, Love and Understanding. He encouraged us all to start right now to be the change in the world that is needed. Be the first to smile at another, be the first to say excuse me and sorry when it is the right thing to do. Then he started into the beautiful song “Peace Pipe”. During his middle solo, he got down on his knees playing to the front row. An amazingly intimate experience for the fan and the musician.

Then he told us how his mom asked him to play some Christmas songs and how she probably wanted some traditional sounding ones, (which he played a piece of), and he then dedicated “Rocking around the Christmas Tree” to his mom.

Next up was his classic “Linus & Lucy” (Peanuts Theme). This instrumental he

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does is everyone’s favorite. His impeccable style and melodic soloing is beyond mere mortal words to describe. “Winter Wonderland” was a joyous excursion with its Texas Swing Swamp solo!

He played a song from his new album “Born to Love You”. This song is a barnburner ala Hendrix, Trower and Gibbons. Next up was “O’ Bethlehem” and “Noel”, in which he did a stand alone solo on his knees up front and intimate “Over the Rainbow”.

Next he told us this new song is on regular playlist on BB King’s XM radio station (#70) Bluesville: “Who’s Your Daddy”. He had the crowd grooving and dancing to this swing blues deluxe tune. The crowd joined him in the call n response chorus – “Who’s Your Daddy” – and his solos were on fire! One of the many highlights of the evening!

The band laid into one of his Ho Ho Hoey set staples, “Mr Grinch” with its hard and heavy interpretation, right into the swinging version of “Frosty the Snowman” Gary and the band then stepped right into “Highway 61”.

His solo was pure swamp blooze. He then strapped on his Republic Dobro resonator and proceeded to take us on a journey to his childhood growing up on Railroad Street, and how the song “Boxcar Blues” describes that. It’s like you are with him on the front porch listening to some down home blues. Then he told us about how his inspiration, Johnny Winter, told him to keep the blues alive and that he wrote this song for him: “Steamroller” (off his new album). Another barnstorming swinging greasy spoon blues jam. Invoking Elmore James and Johnny Winter, Gary brought it home!

He strapped on his signature strat, and played his fan favorite Christmas medley. “God Rest Ye Merry Gentlemen”, “Greensleeves” and “Carol of the Bells”.

Gary then ripped into his classic interpretation of “Hocus Pocus”. Another fan favorite, the energy of this song is classic Gary Hoey: Melodic texture, impeccable soloing, and just downright mind-blowing.

He then paid homage to the veterans. Gary has been a long time ardent supporter of the troops. Broke out his amazing

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version of the “Star Spangled Banner” and then right into the classic “Santa Claus is Coming to Town”. A perfect way to end the journey Gary Hoey took us on that night.

Gary Hoey’s latest album ‘Dust and Bones” August 20th Hot Shot Billboard Blues albums debut at #5 and as of this writing, Dust & Bones is at #8 on Billboard Blues albums. On XM radio, BB King’s Bluesville station (#70) you can hear “Who’s your Daddy” in regular rotation.

1. Boxcar Blues 2. Who’s Your Daddy 3. Born To Love You 4. Dust & Bones 5. Steamroller (tribute to Johnny Winter) 6. Coming Home (featuring Lita Ford) 7. Ghost Of Yesterday 8. This Time Tomorrow 9. Back Up Against The Wall 10. Blind Faith 11. Soul Surfer “This is where I belong-playing this ferocious blend of blues and rock music,” says guitarist Gary Hoey about his 20th album, Dust & Bones. “I did my last album, Deja Blues, to prove to myself that I could play authentic blues, and now that I feel more at home there, I felt it was time to mix my favorite guitar styles into something seamless, organic, and powerful.”

“This is the biggest-sounding album I’ve done in years,” says Hoey. “From the guitars to the vocals to the rhythm section-everything was designed to produce a huge impact.

I’m just so proud of this record.”

Released through Mascot Label Group, Dust & Bones showcases Gary Hoey’s Fender Stratocaster-driven fury alongside open-D-tuned resonator guitars plugged into half-stacks. The massive sonic attack was essential for paying sincere and appropriate homage to some of Gary Hoey’s influences.

The album is a true blues triumph, it’s where Gary belongs. This music veteran is paying his homage to the blues gods, and they are pleased. In all, this is a deep-seated blues rock album from an acknowledged guitar master.

It’s a musical journey through a landscape of blues genres. Since Gary Hoey has signed a multi-record deal with Provogue, it’s the beginning of things to come. For the Dust & Bones tracks, Gary Hoey went with a power-trio configuration, rocking hard with drummer Matt Scurfield and bassist AJ Pappas. www.garyhoey.com

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Lehigh Valley Local Featured Band

By Alexxis Steele

The boys of Social Call are no strangers to the Lehigh Valley music scene with their years of collective experience playing the Lehigh Valley music scene.

The band was launched in 2010 and when Larry Werner, Shane Stoneback, Joe Cenchitz and Dave Parfitt hit the stage, the game is on, and a good time is ready to be had by all in attendance, chanting their coined phrase, 1..2.. 3.. SOCIAL! , with everyone’s drinks held high.

These four musicians are fan favorites and a force to be reckoned with, as their faithful followers would agree. From the glory days in the 80’s and 90’s when Jolly Roger was performing at top local clubs like Lupos, and Airport Music Hall to current gigs at The Maingate Nightclub, The Gin Mille, Bike Nights, and other venues in the Lehigh Valley and beyond.

After some personal health issue struggles in which former band mate Bryan Harmony filled in on vocals, for guitarist/front man Larry Werner , Larry came back to his rightful spot to ring out the end of 2016 with a bang.

The Steel Notes Magazine Allentown team, JR Muffley AKA “The Crow”, Traci Dunton Shaw, and Alexxis Steele, were in attendance at Stahley’s Bar in Allentown, Pa during their Christmas time show to catch the band in action, shoot photos and recorded live footage including one of their renditions of ACDC’s classic song, “Live Wire”.

On January 3rd for my Tuesday night LIVE interviews at The Jetport Lounge in Allentown, Pa Social Call were the first guests on the launch of my show.

The roughly 50 minute set was divided between acoustic performances and interview, with the band leading into their spot playing “Can’t Get Enough Of Your Love”, followed by Aerosmith’s “Walk This Way”.

We started off the interview with some history on the band, including how Joe Cenchitz gave Larry his first big gig with his band Mandrex opening up for Joe’s band. It was said that their fans are the

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driving force for the band, and become part of the Social Call family.

Newcomer Dave Parfitt is the 8th drummer , and last according to the guys that was such an easy transition and a perfect fit for the band. After performing songs- “Signs” and “Peaceful Easy Feeling”, I got a little personal about Larry’s year long struggle and how he overcame cancer, while real-time messages were coming in live from Facebook, one saying how she liked Joe’s shirt that said F*** Cancer.

Joe mentioned that the band would continue on with the “Rock the Cure” benefits in the fall of 2017, to benefit whatever charity Larry would like.

The band will be playing at

The Main gate Nightclub on February 19th in support of another local musician’s struggle with cancer- Scott Marshall.

I asked the band what they thought about the music industry and how it has changed since they first started. Dave stated that it was easier 15 years ago, but now tougher because so much free music is given away, and

bands have to be relentless in promoting themselves and selling merch to make money.

Joe added that, with the advent of Facebook and social media it changed in a positive way because you no longer have to pound the pavements or haunt venue parking lots to put flyers on car windshields, but instead just post it or make an event for people to go to.

The band ended the night’s performances with “Good”

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by Better than Ezra, and Sublime’s” What I Got”. Before we left a few more live feed notes came in thanking the band for a great job.

It is good to see the camaraderie that this band has and a love for what they do and their fans that they fondly call “Family”.

So make sure to get out to a show near you!

To see more of what is happening with Social Call, you can check out their website at socialcallrocks.com , find them on Facebook at: www.facebook. com/socialcallrocks, or get in touch by sending an email to: socialcallband@gmail.com and get SOCIAL! Rock On!!!

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Film Review

Seeing the Voyeur in all of us: Review of De Palma (2016)

By Jerry Saravia (Pseudo Film Critic)

I don’t know if Brian De Palma is a visionary. I am not sure he is the Hitchcock copycat he has often been called, aping the visual style of Hitchcock’s own “Vertigo” and its female doppelganger subplot for most of his career. I never really considered De Palma a filmmaker who exploited women or was any sort of demented misogynist.

Sure, an electric drill is thrust through a woman’s body dressed in lingerie in “Body Double.” Yes, a woman’s final scream in the throes of death is woven into the soundtrack of a film-within-the-film in “Blow Out.” Yes, Angie Dickinson’s character makes face with a scalpel in an elevator in “Dressed to Kill.” Then there is the honest depiction of a teenage girl with her period getting pelted with tampons in the famous opening scenes of “Carrie.” I still do not understand the misogyny charge any more than when it could have been applied to Hitchcock with Janet Leigh’s sudden demise in the infamous shower scene of “Psycho” or the numerous birds that attack Tippi Hedren and her perfectly coiffed hairdo in “The Birds” or, well, I could go on.

De Palma might have shown more empathy towards women overall. The Angie Dickinson character in “Dressed to Kill” is seen like a floating apparition in white, walking as if she was floating across the floors of the Museum of Modern Art in endless Steadicam takes. So much attention is divulged on her, from her lovemaking to her husband who abruptly takes off after finishing his business, to listening and talking

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Brian De Palma as himself in ‘De Palma’ (2016)

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to her son, to her seeing a therapist (Michael Caine) who admits he would make love to her. Then, very abruptly like Janet Leigh’s Marion Crane, she is taken from us and slashed to death. It ain’t pretty but by then, we love Angie, we feel for her and her revelation that she contracted a venereal disease. We care for her, unlike most of the slasher flicks of the 1980’s that could’ve been charged with misogyny more so than De Palma.

A new documentary called “De Palma” deals with some of these charges by film critics who always seem to sharpen their knives when a new film of his came along. The director himself calls into question what Hollywood wanted from him and what they expected. I still don’t know if they knew what a talented, stylish director they had whose best films were like extended mood pieces that put you into a quixotic trance. Those long takes in an art museum (“Dressed to Kill”), a spacious, high-end mall (“Body Double” which features “the longest walk in film history” as De Palma claims) or the slow-motion, rhapsodic sense of movement and violence in a train station (“The Untouchables”) made me quiver with anticipation – they were dreams with a hypnotic charge of excitement. No other director before De Palma ever took the Steadicam shots and slow-motion to such a degree.

They make standard issue mainstream entertainments seems positively underimagined by comparison.

Ultimately, as De Palma conveys through a personal story from his own youth, his best films are about obsessions. They are voyeuristic obsessions, usually with a woman as its focus. “Body Double” is one of the most pleasurably voyeuristic films of all time, taking a page from “Rear Window” and having its central protagonist getting excited over a woman seen through a telescope in ways that not even James Stewart ever had or would be permitted to. It is sexual excitement, not just some passing romantic notions. Same with “Dressed to Kill” as its main killer in a blonde wig and a black trenchcoat often appears looking through a window or a reflective surface before attacking or maiming a female victim.

Yet there is another voyeuristic side to that film – Dickinson’s son (Keith Gordon) sets up a film camera outside of a Craig Wasson in De Palma’s ‘Body Double’ (1984) psychiatrist’s house, hoping to catch the killer. De Palma himself tells the story of how he photographed his own father, outside of a residence, having an adulterous affair and confronting him with it. I would never have suspected that De Palma’s visual style and camera placement in “Dressed to Kill” was inspired by some troubling daddy issues.

De Palma speaks honestly about his cinematic triumphs and failures. He acknowledges that the vanity production “The Bonfire of the Vanities” works if you have not read the book (though I think the film fails whether you have read the book or not). He also acknowledges he was only the replacement director for the insidiously boring “Mission to Mars.” I also love his comments about making the most accessible film of his career, certainly the most popular, “Mission: Impossible,” and how he would’ve been dumb to turn down the opportunity to direct Tom Cruise in a feature film remake of the 60’s TV show. There is also the disaster of one of his earliest films and

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least known, “Get to Know Your Rabbit” with Tom Smothers that was heavily recut by the studio and had Orson Welles in the cast who didn’t memorize his lines. Oh, and how about Cliff Robertson’s tan coloring that didn’t mesh with a protagonist who was supposed to be pale-faced in the aptly-titled “Obsession.”

For myself, “Body Double,” “Femme Fatale” and “Dressed to Kill” are terrific voyeuristic classics – they are like peeks behind a curtain of sexual tension and women who are sexually knowing. “Scarface” and “Mission to Mars” are his worst films (Sorry Scarface fans but I still cannot get behind Al Pacino’s Cuban drug lord and how his story later connected with the hip-hop community). “The Untouchables” is a nostalgic entertainment with a great score and great performances that somehow ended a little too soon. “Mission: Impossible” is thin on plot but it has some captivating thrill-happy scenes. “Carrie” is atypical De Palma but it does show he had a gift for geeky horror with a sensitive performance by Sissy Spacek (and that final shot still gives me the chills).

If there is anything missing in this otherwise captivating documentary, it is that De Palma (unlike some of his contemporaries like Martin Scorsese) never quite explains what drove him to make certain films. His most personal works (“Body Double,” “Dressed to Kill,” “Femme Fatale,” “Blow Out”) seems to evolve from the feeling that life itself is often seen through a lens, a refracted lens perhaps, but one where all sorts of possible outcomes exist. That would be true of “Greetings” (his silliest film with hints of truth about the infamous Zapruder film) and its semi-sequel “Hi, Mom!” where Robert De Niro is the classic De Palma protagonist – a Vietnam vet who likes to photograph his neighbors. The most telling aspect of De Palma’s work is that many of the characters are more attuned to their cameras and binoculars than they are to actual communication with their photographed subjects. When the male protagonists finally come around to having a conversation, it can work and result in some unexpected connection (“Femme Fatale” is one example, as is “Dressed to Kill”). When it doesn’t, tragedy and chaos result in an explosion of violence (“Carrie” being the most notable example, certainly “Blow Out”). Either way, here’s hoping that this stunning documentary (directed by Noah Baumbach and Jake Paltrow) results in Brian De Palma getting closer to being recognized as to what he always was – the artist obsessed with the voyeur in all of us.

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Ladies and Gentlemen and Children of All Ages ... My name is Marlowe B West and I am your glittering Ring Leader ... Walking through this Winter Manhattan Wonderland is a dazzling experience to behold ... Down around Midtown Magic Macy's & 42nd Street will whirl you into the maddest reality-gone-bonkers fantasy ... It's like one of my shows ... You cannot help but come out all glimmerized mesmerized & fantasized ... and if you are anywhere as willing to contain it all as I am ... you carry it all back home with you in a big ole sack ... and dump it all over the rest of your year ... wear it on your face ... carry it in your heart ... spread it all out as far as it can reach ... and let it spill over the edges ... for this is my wonderful life ... ... and so the fairytale continues ... and reality is eating up every crumb ... The night before Christmas Eve ... precisely midnight, Friday, December 23rd ... there was a magical ceremony welcoming in the holidays ... Marlowe B West Takez Manhattan & The Brooklyn Hornz took the stage at Sidewalk NYC ... Anne Husick waved her magic wand and AHPresents brought together the Night of Nights ... While there in the midst of it all ... we find our beaming girl in the whirled taking it all in ... in a spin ... Alice Espinosa-Cincotta was capturing the event to preserve the magic for the joy of all posterity ... Our Alice is the latest, greatest, addition to the clashing, flashing, fashion conscious, passion crazy paparazzi here in New York City ... and here she is ...

MBW: It gives me such pleasure to be introducing you to all of the beautiful people out there ... my loyal followers ... fans and readers of this illustrious Steel Notes Magazine ... and the whirled ... I am sure you have something enchanting to say to the masses ???

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AEC: First of all, I want to thank you Marlowe B. West, for being such an inspiration and supporting my work.

To the masses, "Please come out to support the scene and get a glimpse into what’s going on today. The past was great but the present is pretty damn cool too.

There is something out there for every one and nothing beats live performance."

MBW: I find you to be so very effervescent and delightful ...

Would you care to divulge the source of all the joy written all over your beautiful face ???

AEC: You’re very kind and just made me feel so beautiful right now! Of course, the real world is not a perfect place and every day is a new experience. You take the good and the not so good. Circumstances and situations may change daily or momentarily. I believe that we can gain a level of control by using coping skills to get through some of the turbulence in our lives. I’ve learned to be flexible, open minded and to do things with some sort of passion. In other words, get rid of negative energy and unhealthy habits! Contributing and being connected through friendships brings me great joy. Years ago I also went to many shows but never really was part of such a large extended “family.” Going out now is 1 part show and many parts being with all my friends.

MBW: I understand you are a native New Yorker ...

Would you kindly tell us all about your fun life here ???

AEC: Yes, I’m a true native New Yorker. I was born and raised in the Times Square area and have always lived in the city. As a child, I was exposed to the world of the arts and feel a need to support the beauty created in this world. The fun life is basically being able to attend so many varied events. I am just as home at a hardcore punk show as I am at a great R&B gig. With my husband Mike we have oftentimes gone to 3 or 4

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venues in 1 day and then later complained that we missed something else. New York City is alive and well, with so many cultural events and institutions. My husband and I are very much into supporting the arts of music, poetry, theater, film and a wide variety of museums.

MBW: No matter where I go ... there you are looking so fine ... with your wonderful husband, Michael, your winning personality and your ever present camera ... Will you tell us about your coveted lifestyle in the clubs etc. ???

AEC: Wow, now you’re really making me feel oh so good and quite fantastic! My husband Michael and I have always loved going to shows and cultural events. We love being there and experiencing the excitement generated by these artists. We actually met at a rock and roll show quite some time ago. Once upon a time during my young punk rock days, I would go alone to the shows. One night I actually fell on Michael during a slam dancing moment at The Pep Lounge on 5th and 15th as Iggy Pop was performing. The rest is history. 34 years of fun at the clubs with Mike, not counting a few before we met. We have never tired of listening to the music and being close and center. I picked up the camera and started to snap away and now I’m experimenting with video.

MBW: Do you have some fave stories you'd like to share about any of the night spots and events ???

AEC: Haha, I think I just did with how I met my husband. Well here goes another story…. I absolutely love the The Cramps. The late singer, Lux Interior was notorious for climbing all over the speakers while keeping the song going. He was outrageous with his antics, his looks and the music were spellbinding. Their music was termed psychobilly, a weird combination of punk, rockabilly and who knows what else but it was all Cramps. I imagined how wild it would be to meet the group and especially this outlandish singer. Well, the music played on and I was just grooving to it. Along comes this spider, Lux, creeping up behind me on top of the speaker that I was dancing next to. His pointy black boot came first, then I was face to face with this pale face living skull musical creature with black spiked hair that defied gravity. I was utterly speechless, paralyzed and taken aback being sung to by one of my all time music idols. I let out a scream as he disappeared from my presence and back onto the stage as the show continued. Yes, this was an Oh My

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God, frozen in time moment at Irving Plaza! Sadly, many nightspots have come and gone, like CBGB’s, to name the 1 spot that we spent most of our time. Today we go to local places, such as The Bowery Electric, The Sidewalk NYC, The Parkside Lounge and Otto’s Shrunken Head. There are other places in the neighboring boroughs that also give access to many of the artists, musicians and poets, like The Beast of Bourbon, Hanks Saloon and Gussy’s. Another very cool place is Art on A Gallery and Shop. Please look up these places and continue to keep them active!

MBW: We would love to hear the inside scoop about this new blossoming career you are entering into ... what's up ???

AEC: There is always much to learn with photography and videography. The technology may change but the art is something that I’ve learned to make personal. Every artist or enthusiast develops a style, quality and vision. I’ve been having a specially damn good time video recording Marlowe B. West Takez Manhattan & The Brooklyn Hornz. Some are jobs with pictures and videos and some are a labor of love. Currently, I’m a certified producer for Manhattan Neighborhood Network and get to crew on shows. I also will have the ability and access to developing my own show, if I so choose. This is something that I would someday think about doing. Like you said though, all of this has really started happening of late.

MBW: Is there any specific direction you see yourself heading for in the art of photography ???

AEC: At present I take pics of events, performers and artists. However, I am an open to developing other topics of interest. I see so much beauty in outdoor photography and am so impressed by the breath taking pictures these photographers have captured. I also currently am working with a crew on a documentary and worked as a photographer on set, as well as, crew for this project.

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MBW: You are such an integral part of the scene ... combined with that and your ambitiously flamboyant and creative nature, I see you becoming huge ... How do you see yourself ???

AEC: I just show up and help out. I love to keep contributing and supporting the scene. The scene is ever-changing with its ebb and flow of new artists and audience members. I feel connected to the crowd and the performers.

All creativity comes from inspiration and determination. I suppose, there’s some ambition and flamboyance involved in being able to be a part of this creative world. I haven’t thought of becoming huge. I just want to keep working on the craft and to develop something that I like and just want to be able to say that I did my best. Whatever happens, so be it.

MBW: You are always surrounded by the most interesting & intriguing characters ... Would you like to tell us about some of the people in your life ???

AEC: I feel so blessed by knowing and having good people in my life today. As I have been going out, I’ve met many artists and performers over the years. Some of my biggest inspirations are, Anne Husick, Johan Vipper and Ingrid Rudefors Vipper, Puma Perl, Alan Rand, Cynthia Ross and Lynn Cappiello. To me they are friends who happen to have some connection to the art of music, writing and photography. These are wonderful people and I cherish their friendships. I would also like to take the opportunity to thank you, Marlowe B. West for your friendship and support! Again, I urge your readers to look up some of these very talented individuals.

MBW: When we meet we always seem to venture away into other areas of interest ... I think it would be real fun if you'd like to speak about some of your other colourful characteristics ... such as magic ???

AEC: I think since our introduction, we connected on a magical level. I’ve always been able to share my feelings on all sorts of topics, as well as, share hopes, dreams, goals, plans…there’s the magic!

MBW: Are you a Goth ???

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AEC: I am and have been part of that scene, as well. There’s a gothic lifestyle and scene aside from that which I have already mentioned. Some goths are associated with vampyric and other nocturnal creatures.

Those events could be another topic in itself. Goths and Gothic enthusiasts are seen as individuals whom embrace a darker side of life, with taste in dress, music, and other activities. I try not to label myself or others too much.

Although I still prefer more older punk rock music, garage rock, some classic rock, blues and some other alternative music.

MBW: Let's travel back in time ... Where was little Alice when she discovered the unknown ???

AEC: I guess, little Alice was in the Times Square/Hell’s Kitchen area looking at the bright lights of Broadway. Growing up in that area gave me access to many of New York City’s cultural institutions and close proximity to live performance venue’s. I grew up in the era when you listened to music on the transistor radio and I seemed to disappear into another world. As an underage teen, I snuck into places like Hurrah’s, Mudd Club, Max’s Kansas City and later I loved going to The Peppermint Lounge, Danceteria, the previously mentions CBGBs and other places that were part of an exciting, underground music scene at the time. They’re all part of history now.

MBW: ... and while we are back in time ... Where and what was Alice involved in when she took an interest in being such a wonderful humanitarian ???

AEC: I was my mother’s caregiver when she was terminally ill. During that time, I went back to school and completed my college degree with graduate studies later on. Almost immediately afterwards, I was hired at the company

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that I still work for. It’s a a non profit agency serving individuals with special needs and autism. In between work, I volunteered at a local soup kitchen. I was trained early on to help others. Giving back seems to make your troubles small and strengthen your character.

MBW: Is there anything you would like to bring out that I may have overlooked ???

AEC: I have to say, you have covered so many facets of my life and I am quite honored to be interviewed by you.

MBW: How about contacts ... How can people reach you ???

AEC: At the moment, I’m available on Facebook and Instagram. Sometime in the future I will develop a website showing my visual work and it will have my contact information.

MBW: There is so much more to this modest little lady, Alice Espinosa-Cincotta, than her current passion for photography ... but I would like to take this time to spotlight your videos ... I love how you interject yourself into each song ... how you close in on the solos and incorporate the entire number ... Would you say you have an affinity for music ???

AEC: Now that you mention it, I think that I do. From very early on, I was drawn to the world of music. It seemed like a magical world I could escape to. In my videos my eye follows what is in front of me and I just try to highlight the performers music, spoken word or poetry. Whatever is happening at the moment is what I want to It seems natural to gravitate to that part of the music, almost like a spotlight.

MBW: I am somehow ... underneath it all ... fantasizing that I am cutting this brief... but in reality ... on the other hand ... I feel we have already covered enormous territory ... an unforeseen spectrum ... so now ... my favorite and final question, dear Alice ... If I could grant you three wishes, what would they be ???

AEC: First wish is to keep this current set of friends as long as possible.

Second wish is to continue contributing to the scene and develop as a visual artist. and the Third wish is to never lose sight of what’s important in life.

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www.GBC-GivingBackCorporation.com 122 | Steel Notes Magazine

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Interview

Gus G Talks Firewind Ozzy Osbourne Future Solo Record

By Andrew Catania Konstantinos Karamitroudis, aka Gus G., is a young name in the heavy metal genre and has managed to bag many awards and achievements in the rather short course of his professional music career.

Born on 12th September 1980 in Thessaloniki, Greece, Gus G. grew up learning music at home. His father’s love for rock introduced him to the acclaimed bands like The Eagles, Pink Floyd, and Santana in his early childhood years. His father, who used to play and sing traditional Greek melodies at the local taverns and bars, wanted to deliver his own passion to his child. His favorite childhood hobby was to listen to his father’s recorded versions of Peter Frampton’s album titled Frampton Comes Alive! Elated by his son’s natural philia towards music, his father presented him with his first guitar, a basic classic piece, on his 10th birthday.

Partly because of his father’s wish and primarily because of his natural talent that seems to have genetically transmitted to him from his father, he opted to learn music at a very young age. He was enrolled at a local music school where his natural playing skills were nurtured and groomed. After having learned the elementary techniques, he switched over to his first electric guitar by the time he turned 14. He joined a local music conservatory and under the mentorship of a rock guitar instructor, he decided to test his fate in the rock and heavy metal genre.

1998 turned out to be a turning point in his life. He got himself enrolled at the Berklee College of Music and decided to focus on building his professional profile. His debut project was a joint feat with his musician friends and was titled as Firewind.

The demo bagged significant attention from prominent record label agencies as well as a couple of growing metal bands such as Mystic Prophecy, Dream Evil, and Night Rage. Gus played a leading role in the debut albums of all 3 bands. The

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success of those albums might be debatable, but Gus’ talent was too audacious to be ignored. His playing technique received due praise from the critics as well as the audience. This compelled him to focus on his solo career and his own band. Firewind has released 7 studio records from 1998 till date.

Aside from his solo ventures, Gus has teamed up with notable bands and acclaimed musicians for guest appearances, including Nightrage, In This Moment, and the Greek rock band named West Neighborhoods. His natural playing brilliance helped him make a mark in all of his solo, guest, and joint feats and eventually landed him into Ozzy Osbourne’s (The Unrivaled Godfather of Heavy Metal) list of prospected candidates to play as the lead guitarist in his next big album release.

Gus was initially invited by Ozzy to learn with him and play for a few minor albums. His talent endorsed him as a wise decision on Ozzy’s part and he was officially offered a role to play in place of Zakk Wylde.

Aside from his associations with the Arch Enemy, Kamelot, Nightrage, Angel Vivaldi, Mystic Prophecy and making numerous guest appearances and solos, Gus mentions that playing for Ozzy was an experience of a lifetime, and the honor itself outweighs all other accolades and awards he has accomplished to date.

Gus’s recent releases include Brand New Revolution and a couple of guest appearances for Attitude and Attitude. Gus has been ranked at 3rd position among the top 3 guitarists in the world by Japanese magazine BURRN! in 2003.

We recently had a chance to interview Gus where he shared his personal insight on his career so far and where he aspires to land in the future. Read on to find what he has to say.

Hey, Gus! Welcome to All That Shreds. I had the pleasure of seeing you with Angel Vivaldi recently.

Yes! That was a cool show that night I remember It was a very cool show. I was wondering where you were going to put all your gear. I was just like, wow! (laughter) Everything fit alright in the end. It was a cool stage I thought Yes! It’s a very cool setup there. That is where a lot of the hard rock metal bands go Yes, they told me that. It was cool How are you liking AFM Records?

We just started working together and they have their rights to a new album for North America and Century Media is handling the rest of the world. So I’m curious to see what they do in North America. The last album I put out on my own label basically Has it been five years now since Firewind came out with the last album. Anything particular change in recording on this one versus your old one?

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Yes. The last one we did everything in a studio altogether. We used a couple of different studios we did the drums in Belgium and then everybody did their stuff in their home studios. Like I have my own set-up here so I did guitar and bass with Petros and Henning he went with the producer studio in Germany and they did the vocals thereI like the album. It sounds really good. It’s got your DNA all over it. I can hear your playing from miles away. It’s a Firewind album. I associate you with Firewood. Whenever you’re doing a solo record, Firewind is you Yes, Yes! Thanks, man, thanks!!

No problem. Do you have plans of touring Europe?

Yes, it starts in February in the UK and Europe and then I do a little bit of a solo thing in Asia. I have three shows in Japan and Korea and then we would get back with the guy’s and we would do a bunch of festivals in the summer OK. Any plans on bringing Firewind to the states?

I don’t know. I think a lot depends on how the album is doing over there. We have not discussed any packages or anything like that or touring plans for the states. We’ll see! We’re not negative about it, we’d like to come back. Hopefully, if we have the right feedback from fans and the right support and it’s the right package, yes we would definitely like to come back That would be fantastic to see you guy’s back here. You’re with Jackson Guitar now, that is kind of surprising Yes! I went with them I think it was in May or June I know the other company you do not really discuss much of it. But the other company I think you were with for 12 years I was with them for 12 years. Sometimes you’ve just got to change it up. I’ve been playing Japanese guitars for a long time and then I fancy playing American guitars and then trying it out. Jackson was very enthusiastic and they have a good theme. Not only enthusiastic about the marketing scheme and all that, their team on how they build guitars have good ideas and are not afraid to try them out so to speak and I like that attitude.

So do you feel more at home now with Jackson versus your predecessor?

You know I’ve had a really good run with ESP I can’t complain. They gave me my first signature guitars and stuff and we did well. Now with Jackson, it feels like the right team to be a part of. Those guy’s are fans of what I do. They’ve actually been bugging me for a few years now. It’s like hey man if you ever feel like trying something else out, we’re here. I met up with them and I went to their factory. You know they are owned by Fender so I went to the Fender factory which is pretty amazing. The whole vibe there was very cool and everybody was really on it. You know the guy who builds my guitar is Mike Shannon who built Randy Rhoads Jackson guitars and it’s very cool.

It’s quite an honor isn’t it?

Absolutely! Yes Jackson is part of Fender. They make a good product there. Are you still touring around with your 200-watt cabs?

Yes! That is my set-up live. That is what I had in Orlando It was freaking loud!

Yes! It’s a 200-watt head. The cabs that I use, those Blackstar cabs they are bigger than the normal Marshall cabs. They are kind of I don’t know, they’re are designed to be played loud I guess. It’s cool

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Gus tell me how did you start playing guitar? Was it as a kid?

Yes. I started playing when I was 9 because my dad had this record at home he kept playing, Frampton Comes Alive,

by Peter Frampton. I just loved the way he did the Talkbox and I thought it was like a robot effect or something. I didn’t think it was a guitar at the time. Yes, that is how I was interested in picking up a guitar Interesting. Do you remember your first guitar?

The first guitar that my dad got me was a classical guitar. For the first four years, I was kind of stuck with that classical guitar and I was going to some local music school basically learning a few chords and stuff nothing really too exciting but when I was fourteen he saved up and got me my first electric guitar, which I still have. It is a Fender Stratocaster. It was one of those models and the first attempt that Fender made to try to be a bit more metal. It was like a Floyd with Rosewood and a humbucker How did you get into your first band?

I was playing covers when I was 16 around town just classic rock stuff. I played for a couple years before I went to America after high school. I went to Berklee College of Music for a while and dropped out of that and did some recordings with some classmates from Berklee and that was basically the beginning of Firewind as a project, as an idea.

And that was back in ’98?

Yes, ’98.

Ok, so you were trying to shop at labels to get your project Firewind acknowledged?

Yes. Just trying to see if there was any interest out there at the time and there was no interest. (laughter) Ok. So Firewind got signed?

Yes, I was still young and my ideas were not developed soI was doing all these 4-track recordings and I would send them to this label in Atlanta, Leviathan Records, and the owner was David Chastain. He would write me back letter’s or e-mails and said yes he would encourage me to keep working at it and eventually he offered me the first contract and that is how we signed with Leviathan.

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Wow! That is awesome. With Firewind do you do most of the writing or is it split up amongst the team?

It depends on every album. Sometimes it used to be me and Bob, Apollo, our previous singer. In the very early album, it was just me and the other singer we had back then. On this record, it changed up again. I did all the music and co-wrote it with Dennis Ward who co-produced the album with me. So he and I basically co-wrote and co-produced the whole thing Very good. Tell me how you got the Ozzy Osbourne gig I got an e-mail from his management in 2009 asking me if I would be interested in auditioning. I was like yes, of course! I learned a bunch of songs and a couple weeks later they flew me out to LA and I did the audition. It went really good and they asked me if I wanted to come back and play a show with him and that was it. In August 2009 we did the first show which was like a televised appearance or something. It was a show in Anaheim and that was a warm-up thing. Then I went back home and two weeks later they asked me to come back and play another show with him, The Sunset Strip Festival and the next thing you know I was hanging out at his house the next day and he played me the record he was working on and I ended up staying for a few days recording some guitars and the next thing you know I am working fully on the next album and everything took off from there I’m sure it had to be pretty exciting touring the world with Ozzy and playing in stadiums and festivals Oh yes of course man, it’s amazing! These are things very few musician’s get to do and it definitely is mind-blowing Is there any word from his camp that you guys are going to be going back into the studio?

No, I have not heard anything. I know he has been hinting at press a little bit the past few months but I really don’t know. Yes there is apparently a plan for another album but it’s probably not set in stone right now, still busy with that Sabbath final tour Yes, he’s still doing that until February Yes apparently and maybe there is going to be some more gigs they said or festivals or something like that. Didn’t Naomi say that or something?

They did say that yes. It’s supposed to be in February I guess I saw one report where he was writing with Steve Stevens which scratched my head because that makes absolutely no sense Yes. That’s not new. Those demos, those are from last year. He was telling me about it. I really don’t know. There’s nothing really official I know he is busy doing this other thing right now.

That’s good. Who are your endorsements? Obviously, we know Blackstar and Jackson. What else are you endorsing? Are you endorsed by a pick company or pedals?

A lot of people! A lot of good people actually. Seymour Duncan for pickups, I’ve got my own pickups through them. DR Strings. Morley pedals and Boss Units, Line 6 for my wireless units. Red Monkey makes my guitar straps and some of the accessories like the cuffs that I’m wearing, wristbands I know you came to America from Greece but did you find it hard to be noticed?

You mean back then when I was 18? It was a tough time for heavy metal in America back then. Like in the late ’90’s it was about wrap metal and new metal was emerging and all that stuff. The traditional stuff was nowhere. I was a bit discouraged back then. I ended up going back home a year later and I ended up living in Sweden for a while and that’s

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when I got started with Dream Evil Oh wow ok! That I did not know. In 2017 Firewind is going to be your top priority until the Oz-man comes calling? How is that going to work out for you?

Yes, obviously we have a new album so to promote it we have the tour, we have a lot of festivals that we’re going to be doing and just keep doing that and in between that keep writing my next solo record. I have some sporadic solo gigs here and there and we’ll see what happens after that. If we get to work with Ozzy then that’s what’s coming up next and if that doesn’t happen then I’m going back into a solo record I guess Your last solo record is awesome.

Thanks!!

How does it feel to have your name thrown in with some of the heavyweight guitarists like Steve Vai and all them? Because your name is in the mix there with them It is a big compliment of course! I am nowhere near as good or as big as those guys but some of those guys are my heroes. I grew up their posters on my wall and listening to the records and stealing their licks. Anytime you get to do a show with those guys, open with them or jam with them or with any of those guys it’s a big moment for me Good luck on the album. I look forward to the next one. If the Oz-man comes calling, I will see you on the next tour!

Firewind’s new record will be released on January 20, 2017.

You can follow Firewind @ http://www.firewind.gr/2013/home.html You can follow Gus G @ http://www.gusgofficial.com/home.html

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Interview

Interview with

Lady Grace

By Todd Sobczak of Save the Hippies

Emily Grace is a musician that first caught our ears and eyes on social media. Her soothing rhythmic style was like a calm breeze in the eye of a hurricane. The name “Grace” definitely describes this multi-talented musician, songwriter and all around dynamic artist. Her music inspires, while pouring out a flurry of emotion that only a beautiful soul such as hers could manifest! While Lady Grace’s music seems simple in its lyrical and instrumental composition, her vibe lends complexity by drawing on her poetic nature and jazzy quirkiness. Either playing with the Lady Grace Band on songs such as “Day of Sun” and “Hey Love” (ladygraceband. bandcamp.com) or solo in the venues of the Seattle club scene, this talent will always provide her listeners with an experience guaranteed to expand the musical realms of the audience for which she plays!

Aside from this description as I know her. Let’s get some history coming from this talent in her own words: Todd: Emily do you have a stage name, or a band name?

Emily: I perform as Lady Grace. As a band we go by Lady Grace Band, both for the Trio and the full band, although off the record we refer to the trio as triple E, because our first names all start with E; Evan, Eric and Emily.

Todd: When and why did you start singing or playing Music?

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Emily: I started playing music when I was in fourth grade, and I was really excited about a cool weird instrument the Cello.

Todd: Can you give us a breakdown of your musical history?

Emily: I mentioned the cello, I tried to play Jazz on it, but that didn’t work out because the cello isn’t really traditionally a jazz instrument.

“I wrote my first composition on the cello around age 16 or 17.” Spoken Word became my interest around my late teens to early twenties, lending way to my becoming a lyricist…you know like a rapper, I describe it as Rhythmic use of language! My first song was a break up song, it featured yours truly on guitar and vocals. It wasn’t very good, but came from my genuine life experience. Native American activist, Anna-Mae Micmac (wikipedia. org/wiki/Anna_Mae_Aquash) really sparked my creativity and was the inspiration for my Second or Third Song!

Todd: Do you have any other inspirations or reasons for your music?

Emily: I Like Attention, so I guess that’s part of it. (laughing!)

Todd: Do you perform in Public?

Emily: Yes, I perform mostly on the Seattle club scene; local pubs and wineries. I have also played the Moore Theater on my cello, and I am looking forward to playing there again sometime as a singer.

Todd: Where are you most comfortable performing and why?

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Emily: I like performing for adult audiences, because I can swear.

Todd: Do you play multiple instruments, if so what kind?

Emily: I play piano, guitar, and of course cello, but I’m most comfortable on the guitar.

Todd: Do you write your own music?

Emily: Yes, I write the music and the lyrics. No Covers!

Todd: Do you practice often, or are you naturally inclined to your art?

Emily: I play out pretty frequently so I haven’t felt the need for a rigorous practice schedule.

Todd: Who are your favorite musicians and groups at this time in your life?

Emily: My biggest influence is probably Cat Stevens, Jose Gonzalez from Sweden; he has a beautiful way of delivering his songs, and India Arie; I like the way the way she combines her music with her self-identity. I’m also a big fan of folk-pop artists with R&B influences.

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Todd: What types of music do you prefer?

Emily: I like a lot of styles from classical to rap to metal.

Todd: Where do you see yourself in 5 years?

Emily: Balance is my long term goal, and I am working to achieve this.

Whether you have heard of Lady or her band, take the time and give her a listen. Our ears and our hearts have been touched by this soulful artist who is sure to bring us more of her wistfully magical songs and sounds.

Day of Sun https://www.youtube.com/watch?v=u3alk1VpDR8

Check out Emliy Grace's Music with the links below:

https://www.facebook.com/gracethelady http://www.ladygraceband.com/ Booking: ladygraceband@gmail.com Listening: ladygraceband.bandcamp.com https://www.patreon.com/Ladygraceband

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COMING 2017-2018: The non-fiction drug crime book "The Last Gentleman Smuggler"

by Steven M. Kalish and Nikki Palomino What better way than to celebrate moving into 2017 like those who celebrated going into 1967....

COMING 2017-2018 the non-fiction crime book "The Last Gentleman Smuggler" by Steven M. Kalish and Nikki Palomino ...."You've had the Cocaine Cowboys, George Jung, Barry Seal, the Hippie Mafia and the Biggest Pot Dealer in New York City’s History, now you've got Skip, the fulcrum between Panama, Colombia, the US War On Drugs, Rock 'n Roll and Beautiful Women."

"In a dream, all the policemen in the city were hippies with beards and long hair and love beads. Two hippie cops stood on Madison Avenue and watched a neatly trimmed man pass by, and one of them said to the other, "How can a guy walk around with a haircut like that?" Another hippie cop stopped a well-dressed businessman driving through a red light. The businessman offered him a bribe, and the hippie cop said, "You straight people are all alike. You think you can buy yourselves out of anything." Frank Serpico 1960's "Drugs could well be the fifth horseman of the apocalypse." Manuel Noriega 1973 "I have been involved in marijuana smuggling for most of my adult life....I am Steven Michael Kalish, convicted narcotic smuggler." 1988 Operation Heartland July 1984 I turned my eyes briefly toward the plane window, distracted by a sky only known to birds and maybe angels until the Wright Brothers. There comes a time when we can’t distinguish ourselves from the product we move.

What’s worst is we don’t even want to. The dopamine rush of the past will be hard to divorce.

“Can you believe it, Skip?” Richard sipped the McCallum twenty year-old Scotch. As usual, he didn’t wear a tie.

Richard cleared the distracting thoughts I couldn’t shake, not since I’d decided to quit. ”We’ve pushed every limit imaginable.”

We both understood the terms, and still, we sacrificed. It was easy to deny the complexity of moral issues when we were surrounded by evil. Yes, evil which had morphed into virtue like responsibility and all the good stuff taught to kids. We’d flipped the bird to right. Never wanted to relive the hand-to-mouth so I took a detour from the pretentious American Dream for crime. I’d escaped my family’s destruction from domestic violence, depression and alcoholism only to lose sight of Steven Kalish. I, me, Frank Brown CEO, the shivering kid hiding in the dark garage, wanted a say in when this party would end.

From the pages of the 2017-2018 non-fiction crime book "The Last Gentleman Smuggler" by Steven M. Kalish and Nikki Palomino... facebook.com/groups/1100845919933061/ facebook.com/DAZEDGrungeRockerAuthor/ facebook.com/dazed.novel.series/?fref=ts facebook.com/groups/dazedraioshow/

facebook.com/dazedradio/?fref=ts facebook.com/groups/506370846059672/ www.dazedthestory.com

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Luca Cerardi - Italy

“PHILOSOPHY” of METALLICA This month I am leaving the interview-style article on the side to dedicate this space to a band that definitely changed my life. To this day I remember listening to my first Metallica album, it was the early 90s. I am talking about the “Black album”. Probably one of the most incredible albums ever recorded, thanks to its recording style and musical power. The songs were not as fast as the ones Metallica created before then, but at the time I did not know that and honestly I didn’t even care. On the same day I got the “Black album”, I also bought “Vulgar Display of Power” by Pantera. Their speed and unbelievably precise technique drove me crazy. At that moment I realized that I really wanted to play this kind of music! Which I did, and I am still doing it to this day. I quickly realized I had to get all of the previous albums, for both

Metallica and Pantera. The bands were in two different stages of their careers, though. Pantera were still growing, they just started and were not as popular as Metallica. On the other side, Metallica were pretty much at the peak of their career, with many albums recorded before then. I bought all of Metallica old albums in cassettes. My sister and I were so excited when we listened to “Kill’em all” for the first time!

That’s when I started the band I’ve been playing with until 2015, Merendine Atomiche/Merendine. We started with a demo that left us pretty much unsatisfied, and decided to shift to playing something we just really loved: Metallica songs. That was going to be much easier than creating our own music, given our skills at the time. Our goal was to go to the core of the old thrash metal style. We played “Metal Militia”, “No

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Remorse”, “Ride The Lightning”, “Blackened” and showed everybody that they were a band despite probmany more. It really was so much fun. In our town, lems, issues, fights. Many times during the 90’s people we quickly became a band people wanted to go see. talked about Metallica’s betrayal to the fans. For years In a period where cover people kept saying that Mebands were not a normal tallica will never be the band thing, we became for a of the early phases, and every year the Official Tribute time they released an album Band of the Four Horseeverybody would say it would men in our country, be their last one. I admit that sharing the throne with the 90’s were hard. I listened the Tuscany band “Metto “Load” and I remember al Militia”. Over time, the feeling that something however, we realized we had changed. I was a 19 years didn’t want to be a simple old kid who had just bought tribute band. Soon we all their discography. With moved on and started to “Load” I started wondering produce our own music. where the speed was, where Our creativity was driven the anger could be heard. by our heart, or rather, With “Reload” things didn’t our anger. Because we change, and when I saw them all know that the speed, live the first time in 1999 intensity, and dark sound it was during the years of of heavy metal come from our inner self that wants “Garage re-revisited”. The great thing, though, is that to scream and rebel against the world as it is. “Spit that night they played all their best songs. I particularly out the bone”, Metallica would say today. I still loved “Fight fire with fire”, that was a remember how to play all pretty memorable moment. I also Metallica songs, despite had the chance to see them live the fact that the last at the Madison Square time I actually played Garden in New York. them live in concert They were touring was probably 16 for “Death Magnetic” years ago. This is why in 2009. They played Metallica will always “Dyers eve”. As a drumbe in my heart. They mer, I was simply ecstatic, turned on my needit was awesome. to-play button, and I will always be thankful Growing up, things started to them. But Metallica to make sense. I started to were important also see what their philosophy because they showed was all about. People say me how a strong and that the “Black album” tight a band should was their peak record, and be. First, they were a things went downhill from group of people who there. I actually think the opposite Photo courtesy of Metallica.com stayed together for 30 is true.

Metallica showed the world years. They had only two member changes. The first what it means to stay united and grow as a band. They one simply happened, they didn’t choose it. They went through many phases of their lives, and music

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represented all that. They never cared much about the music business or fans themselves. If that had been the case, why would they ever have released an album like “Load”? They should have just kept playing “Hit the Lights” forever.

Instead, they kept following their heart, souls and creative stream, and were brave enough to show the world their new music every time. Pure business has driven music to a little bit of a dry place. It’s hard to find artists and bands that stick around for a long time. Music has become more about finding the right combination of sounds for the creation of popular songs, more than a real expression of thoughts. It feels like the magic of music has been somehow lost. The objective of selling music and concerts has overtaken the creative need of artists. It looks like the musical process has gone from an emotional one to a scientific one. Play specific chords, add a specific type of voice, mix everything in a specific way, and the likelihood to have a hit is pretty high. But the beauty, emotions, sensations, pain, love, brightness, darkness that belong to artists… those are the things that are now hard to find. Authenticity, originality, bravery of sounds. These aspects seem to matter less than the recipe for a popular music product.

This is where Metallica members stand out. Their music evolved the same way their lives evolved. You can’t expect a man to always want to play a fast, heavy, angry song. People change, the world changes, nothing is the same over time. It took me some time to understand them, but I relate to them now. In my band’s first min disc, “The Holy Metal”, we just wanted to be fast and aggressive. But then with “Walk Across Fire” we added a groove that we would not have liked before. We felt different, so we made different music. Over time artists want to find new paths, discover new sounds, find a better musical match for their current emotions. This is why I can now say I am a true Metallica fan. Because I ad-

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mire every change they made. I admire them for releasing “Load” and “Reload”, for “Garage Inc.” and for being brave enough to play with an orchestra. They simply did what they wanted to do, which, in a schematic system

Photo courtesy of Metallica.com that is our world, is pretty impressive!

After a long time, Metallica came back with “Saint Anger”. I saw them live in 2003, with a completely new enthusiasm. They were a new band, with a new mem-

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ber and a new way to play. Criticisms did not go are now playing heavy metal in a way that represents missing even then: songs too long, strange drums them. Life is a dynamic process. It’s like a river that sound, not like the old songs. The same thing hapcontinues to flow. The river can look the same tomorpened with “Death Magnetic”. Not sure how people row, but it is not, it’s not the same water. expect a band to keep playing the same riffs forever, though. I feel like Obviously, I am not talking fans want Metallica about personal taste.

Photo courtesy of Metallica.com to follow the stanNot all the songs sound great dards of heavy metto each one of us. But who al songs that they was ever capable of producthemselves created ing memorable songs for 30 in the 80s and early years? That seems pretty hard 90s. But Metallito achieve. What’s relevant, ca are Metallica however, is to stay true for a reason: they to yourself, when making invented a style music. If your soul changes, of metal and they music will change as well. have all the rights You could actually wonder to keep reinventing whether all the bands that themselves as much never changed their creative as they want. We style over time have done so should all respect because their life and emothe choices Metions never changed, or betallica made over cause they knew they would time, and consider make more money out of their career as a those albums characterized benchmark for any by a consistent sound. rock/metal band in history. Should fans Music is something that want to listen to comes from our soul, and old 80s songs, they it is not a standard scheme. should probably Art in generally is undefinjust keep playing able, and the more we try “Master of Puppets” the more we fail. How can on their phones, we define a Metallica song? but maybe they What are the criteria that should not spend describe a “perfect” Metallitime criticizing the way Metallica have evolved over ca song? I don’t think we can name them. We can find time. Their inventive freedom has always been their a core sound, a certain speed, a great melody, but only most powerful quality. They have not followed preMetallica know how and why their music comes to life. made schemes and have created their own style, If instead of following their creativity, they kept prowhich naturally evolved over the decades. When ducing specific songs, artistry would be a common job. they played “Hit the Lights” they were in their early Routine, standard, in the box. Instead, Metallica are the 20s. When they recorded the “Black album” they definition of freedom. They have no boundaries, they were more mature, in their 30s. They got older and stay true to themselves and keep leading the way. right now we are all happy to listen to “Atlas, rise”, or “Hardwired to self-destruct”. In their 50s they

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Alessia Bastianelli – Italy Venice 12.27.2016

Food is not only food The holidays are coming. This is the time of family, gifts, travel, and food: a lot of food.

Regardless of our culture, we expect abundant lunches or dinners made from mostly traditional recipes. Behind every recipe, we find a piece of us, our culture, our childhood experiences and our memories that we recall especially at this time of year.

Proust knew this well when in his “In Search of Lost Time,” he relates a moment in which the past intrudes upon the present in an unexpected way with no apparent logic, simply through some crumbs in a steaming cup of tea. From that moment, little Marcel returns to his memories of eating madeleines.

A bit of sweetness helps to complete the puzzle of his memories.

That buttery, sweet, shell-shaped, tea-soaked cookie is not simply a piece of food but serves to trigger the writer’s memories.

The madeleine crumbs are the metaphorical reason behind the memories formed by the flavors, scents, textures, and colors that our brain has stored since the early days of our life and even earlier, when we were in our mothers’ wombs.

Those memories are the basis of our personal tastes, and every day, consciously or unconsciously, upon which we draw when we eat and when we think about, seek, find and cook dishes that will be brought to the table in one of the most communicative acts par excellence: the sharing of meals.

The nutritional act is the first way in which the individual becomes aware of himself.

From the first day of life, it is the basis of

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mutual understanding between a mother and child. It specializes and focuses on growth in interactive moments shared with family during which recipes, flavors and colors have been handed down.

Affective sharing occurs early between the mother and child during lactation. Then, when the child grows, the emotional sharing with the entire family is a distinctive feature at the base of our memory of the dish. Not only is the moment characterized by taste and sensory sensations, but also emotional atmosphere and emotional sensation have influenced that particular and specific moment.

Emotional atmosphere, sounds, dialogues, thoughts and psychological feelings that we experience in our meals shared with others or alone will be translated semantically in our memories related to food. In this way, it will be psychologically and conditionally characterized in relation to positive or negative connotations associated with it.

Proust’s idea was to highlight how taste and smell have a key role in memory and retrieving memories. Today, neuroscience research confirms and supports his idea.

Research demonstrates how the senses of smell and taste are more sentimental and subjective and less transmissible. It is not easy to describe a scent or aroma; they are an intimate perception that is hard to share. The reason for this expressive difficulty is probably due to the fact that taste and smell are the only two perceptions directly connected to the hippocampus, which is the deputy central storage department for information in the long-term memory. Their brand is indelible, and as such, can personally evoke and open scenarios for other memories and associated feelings.

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Rock Your Way Jewelry By: Bev Charlotte Kurz

You can purchase Bev’s awesome rock jewelry at: https://www.etsy.com/shop/rockyourwayjewelry

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Letter from Save The Hippies We at Save the Hippies are Grateful for an array of Experiences in 2016.

The Comic came alive thanks to the combination of Jeff ’s Held’s Graphic Magic, and Todd Sobczak's artistic vision and creations! Let’s not forget the laughs. In addition we became family to some great people(“Love Wins”), and our lives have been enriched in a multitude of ways, by supporting people in need, we have found that in turn we have been blessed!

In the March Issue of Steel Notes Magazine the Comic strip was Introduced. The Hippie Character was originally created for my t-shirts at the Grateful Dead shows Back in The 80’s, and Save the Hippies was imagined in the mountains of North Carolina at my late great Hippie friend Tony Huizenga’s house .The Main Character Zane has a quirky and loveable personality, and is modelled after Tony, myself and of all the cool Brothers i’ve met in my life. Cali the dog, and the two cats;” Maugs”, and “Noodles” were inspired from my past and current pets.”

Lexxie”, Zanes Hippie Chick companion is just simply that, an ideal hippie girl Depiction.

The 1st issue shows” Zane” feeling down about the mundane direction © Save The Hippies, Inc. 2017 ™

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his life was going.

Maugs and Noodles led him to a cabin in the woods. Upon drinking a strange liquid found in a mason jar there, he falls asleep and dreams of a heavenly being who grants him special powers, by way of a magic pen and book. Not knowing how to control the magic, our Hippies are thrust into their adventure!

Little did our lovable

vagabonds realize an evil death metal villain; “Tekwar” ,along with his gangster rapper assassin side kicks, seek to destroy our hero’s and gain their powers. Many other characters are being added from all genres of art,music and culture.

Our intent is to help people realize that diversity is a strength, and that we all can harness and use it together toward the powers of Peace and Love. In 2017 we hope you follow our story .You can decide which side of this coined shape, flat planet you wish to be on . It’s the classic battle of good against evil, but the line you step across may not be that of which you plan? LOL ! Don’t worry be Hippie!

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© Save The Hippies, Inc. 2017 ™

January 2017

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Poetry by Yvonne Sotomayor HAVE A NEW YEAR What is happiness?

Is it the fulfillment of our own expectations?

Our dreams?

Our order of how things should be?

Is it the absence of disappointment?

Is it the absence of friction?

Is it the absence of dissent?

If these conditions are so; then happiness is stagnant.

Happiness is the same There is no movement or change There is only one way---but who chooses?

Can we define happiness as the absence of compromise?

Then happiness is lonely There can only be one ‘ruler’. Me. Or you.

So is happiness available to couples?

Being coupled means change and LOTS of compromise It means taking another into account It means reaching out and acquiescing at times To preserve the other’s sense of self in a unit So is happiness no sacrifice?

No giving up or in?

Is happiness selfish and self-serving?

Self-centered and narrow minded?

Is it limited in scope?

How do you choose it?

What is the structure?

What are the categories?

If it’s different for everyone; can we agree on what it is?

How do you ‘get it’?

Can you “keep it’?

How long does it stay?

Who is it meant for?

Can we all have it?

Can you get ‘enough of it’?

How much is a lot?

How much is too few?

Do we have a choice?

Can we choose it?

Did you choose it?

Will I?

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TEN UN AÑO NUEVO Qué es la felicidad? ¿Es el cumplimiento de nuestras propias expectativas? ¿Nuestros sueños?

Nuestra orden de cómo deben ser las cosas? ¿Es la ausencia de decepción? ¿Es la ausencia de fricción? ¿Es la ausencia de disentimiento?

Si estas condiciones lo son; Entonces la felicidad está estancada.

La felicidad es la misma No hay movimiento ni cambio Sólo hay un camino, pero ¿quién escoge? ¿Podemos definir la felicidad como la ausencia de compromiso?

Entonces, la felicidad es solitaria Sólo puede haber un "gobernante". Yo. O tu. ¿Así que la felicidad está disponible para las parejas?

Estar acoplado significa cambio y MUCHOS compromisos Significa tomar otro en cuenta Significa llegar y consentir a veces Preservar el sentido del yo del otro en una unidad ¿Y la felicidad no es sacrificio?

Sin renunciar o en? ¿Es la felicidad egoísta y egoísta?

Egocéntrico y estrecho de mente? ¿Tiene un alcance limitado? ¿Cómo lo elige? ¿Cuál es la estructura? ¿Cuáles son las categorías?

Si es diferente para todos; ¿Podemos estar de acuerdo en lo que es?

Cómo lo conseguiste'?

Puedes mantenerlo'? ¿Cuánto tiempo se queda? ¿A quién se dirige? ¿Podemos todos tenerlo? ¿Puedes conseguir 'suficiente'? ¿Cuánto es mucho? ¿Cuánto es demasiado poco? ¿Tenemos una opción? ¿Podemos elegirlo? ¿Lo has eligido? ¿Lo eligiré?

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Poetry by Dylan McIntyre

And who are you, then?

You, whose heart beats with the rhythm of collapsing cities.

You, whose nails cling to unfortunate lovers foolishly stumbling upon your icy grip.

You, whose eyes shimmer with the lights of dying galaxies blinking out of existence, fading solemnly into nothing with the nights cold breeze gliding slowly upon the dry cheek that know no tears.

Do you even know who you are beneath the fiery helm that shadows horns, thorns, and halo?

Who are you, then?

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With a dagger in your words, And sin on my lips.

You stabbed me in the heart, While I prayed with your hips.

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BRODIAN’S BANTER Sometimes, being good business doesn't always mean being politically correct.

I saw an employee poster at a fast food restaurant.

The poster shows a drawing of a worker pointing out some information on the poster.

The worker has a tattoo on his arm.

Yet, the company has a policy prohibiting any visible tattoos.

Is this a sign of the times where tattoos are more acceptable?

Possibly not.

The worker shown on the poster does not have blonde hair + blue eyes.

Is this prejudice?

Maybe not.

In certain areas, the local population has their own ideas about society.

One example I'd like to give is two different versions of a box I saw for a baby sling.

One version of the box shows a white man with a white woman holding a white baby in the sling.

The other version of the box shows only a black woman, no black man, with a black baby in the sling.

An explanation from the company said that if it were to market it in inner urban neighborhoods with the addition of a black man next to the black woman in the picture, it would not be understood by the local population.

It is known that single moms are very common in these types of areas.

Marketers do research and they modify their products accordingly.

How can society preach political correctness and, at the same time, be sensitive to other people's beliefs?

This is a concern I have, when it comes to popular music.

I heard a song on a top 40 station. A black kid sang the line, "My momma raised me right".

Not 'my parents raised me right' (actually, correct English would be 'my parents raised me well' but, that's another conversation).

If the person were white, they could not suggest that they are the product of a single parent home.

Let's try another angle: Why weren't The Spice Girls billed as an interracial group?

Be- cause they are women and anything pertaining to women in the entertainment field is still billed as a novelty.

When you're a novelty, you can get away with 'out of the usual'.

If one of The Backstreet Boys or, NSYNC were black, it never would have sold.

It never would have been allowed to be marketed.

Is this corporate or, is this people?

Think about it!

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JOURNEY TO INDIA Terror In Kashmir

Rex Maurice Oppenheimer The clouds looked like the white beards of wise old men as they hung around the Himalayan peaks that surrounded the Vale of Kashmir.

Pathways that animals and humans had trod for centuries descended the green foothills, past glinting slate roofs and stone buildings, as they funneled down to Nagin Lake.

Sitting in her shikara Nikki began to row, watching the current swirling around the oar as though hoping to read her fortune in the color and movement of the water, her own reflection wavering on the surface. Her image dissolved as she stroked, and sent the canoe gliding past the floating gardens of lotus and lily.

She pulled in the oar sat back and took a deep breath, inhaling a moment of peace. As evening approached and darkness fell, women in saris balanced vessels on their heads and trudged along the bank. Nikki wished she could stop everything and draw the whole world into this quiet. Yet she was also straining to move on, to put the oar back in the water and propel herself forward, across the lake, across the sea, to trudge her own path of meaning.

Nikki’s search for meaning, which had begun as a schoolgirl’s poems when she was 16, had somewhere along the line turned into a struggle for survival. Her dreams and desires, like hotheaded lovers who fight and fuck, had led her on and cut her off. Now, at 27, perhaps fate had finally given her a sign that everything had always been leading to this. It was going to be okay.

Rowing through the blue-green Kashmiri dusk, she entered the main body of the lake. Her shikara bounced on the wind-rippled water as she headed toward the far shore and the houseboat she shared with Anatol.

Anatol was the only man who had ever made Nikki feel protected. They had met when some vendors and touts had accosted her on the street in Srinagar. Young boys, who at first had just pestered her to buy some trinkets, but soon they had become dangerous. They cornered her and herded her into an alleyway. One had put his hand on her breast, while his friend pulled a knife from his belt. Nikki was about to scream, when another clasped her mouth with his hand, his hot breath close on her neck.

Suddenly, Anatol had appeared. The boys stopped and looked at him. He spoke to them quietly, in Kashmiri or Urdu, she wasn’t sure which, but they had listened to every word. Then all of them ran in different directions.

Nikki still didn’t know what Anatol had said to frighten them. She asked him, but he just said that he’d told them to leave

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her alone or he’d tell their mothers on them. The memory made her smile. He was more than a decade older than her, and she’d only known him a month, but she had moved into the houseboat with him the same day they met and into his bed that night.

No longer alone, as she had been in the backwaters, Nikki maneuvered the shikara easily between the other boats traversing the large lake. When Nikki had first taken a shikara out by herself, she had trouble steering it. She copied the other rowers, sitting at the very front of the long, narrow canoe, like some native in a picture she’d seen in an old National Geographic, so far forward it looked as if the boat should just tip over.

At first, no matter what she tried, rowing on either side, fast or slow, she just went in circles. With further observation of the Kashmiri oarsmen, she’d gotten the hang of it, putting the oar in, twisting it as she stroked, and pulling it out with its blade parallel to the boat. Now she used the little boat every day to go across the lake to where there were a few local shops and to catch the bus into Srinagar, and for these pleasure cruises in the evening.

There was easiness to her life here, although life in India isn’t easy. Running water, especially hot running water, is rare.

Power fails often, and although there is an intelligentsia, and India has nuclear weapons, computers, scientists and a middle class, a majority of the population remains poor and illiterate; irrigation in village fields is often accomplished by hand, with women carrying little clay pots full of water to pour on the plants. Nikki used to see them when she traveled long distances by train. She’d look through the window and watch the women in their cotton saris and knobby bare feet carrying the pots of water as they moved through the fields.

India’s sewage systems weren’t the most modern either, and sometimes, when she’d looked out the window on those train trips, she also used to see people lined up in the fields in the early morning, all squatting and taking a shit. A little clay pot of water, called a lota, beside them. When they were finished, they’d hold the lota in their right hand and, still squatting, pour the water down the crack in their bottom, swishing themselves clean with the left hand and the flowing water.

She remembered in Bombay, when she walked down by Sasoon Docks, where, even just a short distance from the huge, luxury hotels, she’d seen early morning shitters squatting on the beach to defecate. The tide would flow in over their ankles and roll out with the feces.

Despite the hardships and unpleasantness, Nikki had come to love India. She relished the slower pace and didn’t miss the modern conveniences, except maybe hot water for a shower once in a while. Although the basic chores of sustaining herself took a lot of time, she seemed to have more time. Her moments were filled with the reality of the world right up against her. No constant bombardment of news from beyond the borders of her daily life.

When she walked through Srinagar, Delhi, or Calcutta, among the people wound in saris, dhotis, lungis and turbans, enmeshed in the flow of modern life through ancient lanes, she’d see an elegance of existence, imbuing everyday things with beauty and meaning. The slanting brightness of sunlight on a mound of spices, flowers in a garland, appeared as visual poems.

Here every image seemed to coexist with its history; the past lived visibly within the present, and the continuity of survival made her feel secure. Negative thoughts and imagined fears about the future paled against the vividness of the moment.

Anatol sometimes teased her about her romantic idealism. “Shit is shit,” he would say, “you can romanticize about the spirituality of primitive conditions and escape from your fears and responsibilities through fantasy, but the reality here is cholera.”

Evening light poured into the houseboat, warming the carved mahogany and cherry wood furniture, shadows deepening the textures of brocade and lace. The sheets on the unmade bed were rumpled, and Nikki’s clothes lay piled on the floor.

She and Anatol sat at the small teak table. Naked and nonchalant, Nikki watched Anatol. He was shirtless, with fine black hair on his chest, a slim stomach and a lungi wrapped around his hips, as he tapped the end of his unfiltered cigarette

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against a matchbox, tamping down the tobacco.

“He may be a great writer, ma cherie, but he is barely a decent human being,” he said, raising his head and looking into Nikki’s jade-bright eyes. His own were smiling, as he obviously took pleasure in her loveliness. Her eyes sparkled liked hidden treasure and her full lips looked like nectar filled fruit. Her skin was soft to the touch, but smoothly muscled.

She could feel Anatol’s eyes on her. The lines of her breasts, drawn with an easy grace, raised as she straightened her spine and extended her long, slim neck, “I know about separating the artist from the art, but the way he sees the world, it…it gives me hope.”

“You are young,” said Anatol.

Nikki watched him as he tried to strike a match to light his cigarette. The head of the first match broke off. The second sort of smeared, as if the sulphur tip hadn’t yet hardened. The third lit. This was common with Indian matches. The quality was abysmal. She thought of stories she had heard of how the match factories were enormous exploiters of child labor; children’s tiny fingers hastily making matches all day and night, like something out of Dickens.

Pleasure lit a smile in Anatol’s face as he exhaled smoke gently from his nose and mouth. She studied his dark, tousled hair and smooth olive skin, and told him, “Young has nothing to do with it. I know what’s real and what’s good.”

She thought Anatol was good, that at the center of his being was kindness. Sure, he was handsome; she liked the large, comfortable houseboat, the money, but she liked him most of all. She wouldn’t stay with him and let him play his little perverted games, sucking her toes, and burying his face in her pussy and ass, if she didn’t like his soul.

Anatol’s smile intensified, “Literature is not life. He has seduced you with his talent. He has a facility with words, but all that means is that the chemicals are arranged that way in his brain. Art, ironically, is chemical and mechanical, as is all human endeavor.”

“Art is an expression of the soul!” Nikki thundered. Jumping to her feet to rearrange the flowers in the vase on the little carved table. She looked out the houseboat’s window, her nakedness hidden behind the lace curtains.

The Kashmiri family on the boat next door was yelling at each other. The family always seemed to be arguing. Yet their bonds were strong, passed down through centuries of tradition and now shouted between generations as they went about their daily tasks.

The boats rocked on the water as the wind swept down from the hills that lined Himalayan passes, where Moguls had ridden with sabers flashing many years ago, and now, Tibetan refugees leave little piles of rocks and other signs of prayer.

“Goodness is the only expression of the soul,” Anatol said quietly. “Being alive means more than breathing, more than having the use of your senses. More than thinking or even dreaming. It means doing the right thing. Otherwise, you are only a zombie, or an asshole.”

Nikki squinted her eyes and scrunched her nose with the defiant look of a child who has caught her parent in a lie, “How can you talk about doing the right thing when you are dealing with scum like Feydor?” She asked.

“Feydor won’t be around for long, but right now I have business with him.”

“What kind of business? He’s a drug dealer. I knew it as soon as I saw him.”

“Well, I’m not,” he said.

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She stood looking down at him, like a prosecutor pressing a witness, her nakedness both comical and enticing, “Yeah, so what are you?”

He stubbed out his cigarette and rose from his chair, standing next to her. “I’m not your father or your teacher.”

Although she knew him well, in a very basic sense she hardly knew him at all. His name was Russian, his accent and his nationality, French. She didn’t really know how he earned his living. He had published poetry, but that could hardly account for the money he seemed to have. He said his family had money, and she accepted that, but he never really spoke of them; she didn’t know who they were or what they did.

Nikki would have usually been more skeptical. She’d been let down so many times and was always suspicious, if not cynical, but for some reason she trusted Anatol more than she’d ever trusted anyone, except her grandmother.

His face grew serious. “I have to leave India,” he said, looking quickly into her eyes and then down at her beautiful bare feet.

Her mouth fell open, and breath caught in her throat. She looked up, her eyes widening. I’ll go with you, she thought. But he didn’t ask. Doesn’t he feel what she feels? He must — “I can’t take you,” he said, tamping another cigarette. ******* The sun had disappeared behind the forbidding mountains. Darkness brought quiet, but tension slithered through the shadows.

A single light bulb hung from the ceiling in the front room of a stone house on the other side of the lake. Feydor sat across from a dark-skinned man, who called out in Arabic to someone in another room. A woman, probably 40, but looking 60, wearing a simple sari, her head covered by a black shawl, entered. Her flat brown feet took short, quick steps. She poured sweet, milky tea into two cups and placed them before the men, retreating as rapidly as she’d entered.

Feydor held a chunk of hash and cut off a piece about the size of a large raisin. Holding the greenish black lump in the tweezers from his Swiss Army knife, he struck a match and warmed the little glob until it began to smoke. Blowing out the flame, he crumbled the charras into a fine, warm powder and sprinkled it over some cigarette tobacco.

The other man, dressed in dark, polyester trousers and a long sleeve cotton shirt, his heavily oiled hair neatly combed, handed Feydor a chillum. As Feydor dropped a stone into the ceramic cone, and poured the hash/tobacco mixture in on top of it, the man, speaking English with a Pakistani accent, asked him, “The heroin is in Srinagar?”

Feydor’s face was round as a snowman’s, eyes like small points of coal. He glanced at the two men standing beside the door, their heads wrapped in kaffiyeh, and each holding an AK-47. He smiled.

A flame flared from the match in the Russian’s pudgy fingers; light shined across the dark-skinned man’s sweaty face. The top of the chillum glowed bright red, as Feydor drew deeply through his hands, gripping the cone’s tip. His chest swelled before he exhaled huge clouds of smoke. He passed the chillum across the table, “your turn,” he said. ******* Nikki, still naked, was making the bed; her concentration seemed far too deep for the task at hand. Emotions of fear, anger and confusion passed over her face as fast as shadows. Anatol stepped up behind her, kissing her softly on the back of her neck. She tensed. But he wrapped his arms around her and turned her to face him.

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The boat shook. They could feel it dip down as someone stepped onto the deck.

Anatol mouthed the words, “don’t worry,” but Nikki stared with lightless eyes, then quickly turned and stepped into some faded blue jeans. Slipping a white cotton blouse over her smooth breasts.

Feydor smiled as he entered the cabin. The big, bearded Russian shifted the large backpack hanging from his shoulder as he embraced Anatol in a bear hug. Ignoring Nikki, who stood in the soft light as sensual and singular as a cloud, he glanced at his Rolex.

“Comrade, we must talk. But first, I have to pee.”

Nikki watched Feydor as he strode to the bathroom and closed the door. He made her feel unsafe. He was mean. Beneath his joviality there was an intense hunger, and deeper still was a core of cruelty. She looked at Anatol, her eyes dripping tears.

Anatol took her in his arms, whispering intently, “I’m not leaving you. We’ll be together again, soon. I’ll give you some money and we will meet in Paris in one month’s time.”

His eyes were as truthful as anything Nikki knew. She threw her arms around his neck and was covering his face in kisses, when the bathroom door opened. Feydor came back into the room and sat at the teak table, turning to Nikki, he said, “We will only be a minute, my dear.”

Anatol pried her arms from his neck and gestured for her to leave them. Without looking at either of them, she walked out onto the deck at the back of the boat.

Her mind was churning. Fear still gripped her, but he’d said they’d be together in a month. Why did he have to go, and why was he still so secretive? What was he doing with Feydor? It troubled her and she knew she had to press him, make him tell her everything. She needed a relationship that was based on reality, and honesty.

Silver moonlight burnished the dark water. The Himalayas looked like stairways to another world. “In Paris. Together,” she thought.

A boat full of armed soldiers spun around the lake, checking out the houseboats. On shore and in town there were military patrols everywhere. Acts of terror and insurrection came in waves. Sometimes an army jeep exploded, or was caught in an ambush. Temples were torched and mosques blown up.

The constant friction between the Muslims and Hindus reminded her of when she had stayed at the Petra hotel, just inside the Jaffa Gate in Jerusalem. Palestinians owned it, and Nikki had listened sympathetically to their tales of oppression. Nikki got along with everyone. She had told them she was a writer, and they had loaned her a typewriter to keep in her room.

Grandma Naomi had given Nikki the trip to Israel. Nikki had gotten into some trouble in Manhattan. Her grandmother thought a trip to Israel might help turn her life around and maybe spark the girl’s feelings about being Jewish.

Nikki hadn’t grown up in a religious household. Her mother, Rachel, was a hippie, or at least a free spirit. When Nikki was born, Rachel had been living in a faux commune near Santa Barbara, which was really just a mix of musicians, poets, pretty girls, drugs, the I-Ching, Tarot cards and gossamer costumes, a strange blend of hedonism, spiritualism, decadence and derelict dreams of grandeur that had marked much of the era known as the sixties and was mistaken by many to be a portent of revolutionary or evolutionary change.

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Grandma had tried to save Nikki’s mom, too. But that wasn’t going to happen.

Nikki’s father was a young Israeli who couldn’t get out of Israel fast enough. He was handsome and charming, a hip, charismatic manipulator, who had convinced Nikki’s mom to come to New York with him. He was full of great ideas, but once he and Rachel had arrived in the Big Apple, he’d fallen in with the Israeli mafia. Why he’d ever been on that commune was a mystery. After they got to the city, all he ever tried to do was make money. Quick money. Shady money. Blood money. It had gotten Rachel killed and sent Nikki’s father running, forever. She never saw or heard from him again.

Grandma Naomi, who had taken Nikki in to live with her, wasn’t religious at all. She never went to synagogue; she didn’t know much about the religion when it came down to the law or ritual. Nikki wasn’t sure her grandmother really believed in God. But the old woman was absolutely pro-Israeli.

Nikki thought it was because she was a first-generation American of a certain era. Grandma had that lower eastside, New York City attitude. Work your way out of the tenements, scholarships to Columbia, or street-savvy success of one kind or another. Whether it was valedictorian or Vaudeville, it was struggling to forge an American identity while evading anti-Semitism.

Grandma would lecture Nikki about the Palestinian issue, explaining how the so-called Palestinians never controlled the land they now claim is occupied by Israel. “They say give the occupied land back to the Palestinians, but they never had the land. It was part of Jordan that Israel took in a war they didn’t start. The Jordanians never gave it to the Palestinians.” she’d spit out. “All the years Arabs controlled the region the so-called Palestinians never had or were given land. They were nomads.”

Then she’d give Nikki a history lesson, again. “People think modern Israel was created for the Jews among all these ancient Arab lands. Almost all of the Middle East was part of the Ottoman Empire. After the Turks were defeated the British gave some land to the Arabs and created the countries of Saudi Arabia, Syria, Lebanon, Iraq.

The British carved Jordon out of Palestine in the early 20th century. They brought King Abdullah, a Hashemite and the Sherif of Mecca, over from Saudi Arabia to rule Jordan. Jordan is 80 percent of Palestine! It has a majority Palestinian population, for god sakes!”

Grandma would be shouting by this point.

When Nikki had gone to Israel, she’d been unconcerned about Middle-east politics. She had feelings, her grandmother’s lectures hadn’t gone totally unheeded, and her own cursory analysis of the situation showed her many areas where the Arabs had a lot to answer for. But Nikki wasn’t going to argue the point.

Besides, despite her grandmother’s political reasoning, there were a lot of innocent Palestinians who were living as second-class citizens. Whether that was the fault of the Israelis or their own Arab brothers mattered little. Suffering is revolution’s womb.

Nikki thought about how analogous the Israeli/Palestinian conflict was to the one between India and Pakistan over Kashmir. The parallels between the two disputes were striking. They are both framed as religious conflicts, as struggles over land, nationality and a people’s self-determination.

Anatol knew a lot about the local history. His knowledge was expansive, and his experience gave it weight. He felt for the people, yet, he was often disgusted with them. He was an idealist; he was a cynic; he was an enigma.

She was drawn to him from that first look into his eyes, yet as soon as she heard his French accent the thought that he might be anti-Semitic jumped into her head. That was strange, considering the crazy sexual liaisons in her life, all with

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non-Jewish men. Why should she care?

When he had brought her to the houseboat, she’d noticed the little statues of Buddha and Krishna, the incense burner and the menorah. “You have a Hanukkiah,” she’d said. “But I’m Jewish,” he’d answered with that smoky French accent. She had never been with a Jewish man before, but now it seemed important. Not because of religion, but kinship, acceptance, safety.

Anatol had penetrated the walls that had both protected and blocked her off from the world. More than breaking through barriers, more than reaching her or touching her, he had started to become part of her. Even in this short time. Through shared experiences and examples of trust and giving, it was as if thread-by-thread their souls were being woven together.

She began to cry. “Paris, in a month,” she said again to herself.

Anatol’s strength gave her comfort. It made her feel good, and for some reason, proud. She remembered when she’d seen that old move, Exodus, where Paul Newman was fighting for Israel’s independence, and he said, “I can feel the blood of King David flowing through my veins.” When Newman had said that, it made her whole body tingle.

God, she wanted to feel that way, too. She needed to feel good about who she really was. Anatol made her believe that she could. His involvement with Feydor disturbed her. It didn’t make any sense, didn’t at all seem like who he really was. But did her life reveal who she really was?

Pushing her hands into her pockets, Nikki felt the little Star of David she carried there. Her grandmother had given it to her, and that was the only reason it was precious to her. She’d never worn it. She didn’t deny her Judaism. She just didn’t advertise it.

Deep down inside her, there was that inherited fear of the next Hitler, when another wave of anti-Semitism would wash over the land. Whenever she’d see Jews wearing yarmulkes in public, it would send a chill down her spine. “They’re targets,” she’d think, if not for a bullet, at least for hatred and derision. She always remembered the kids at school who’d yelled, “Kike!” and called her Jew girl. (continued next page)

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She looked at the forested hills surrounding the lake. Snow draped the high passes. The small branches on the trees waited for leaves to grow and fall and grow again. Women beat laundry against the rocks at the lake’s edge, singing songs full of the strange blend of sorrow and gratitude sung by slaves.

Nikki was startled by Feydor’s hand on her ass. Turning, she looked at him as he walked past. His beard bristled gray and black in the murky light; his breath smelled of smoke, whiskey and spice. Nikki’s green eyes shot anger like machine-gun bullets, but what Feydor saw was her fear. He laughed.

“Goodbye, handsome,” she snarled, as he walked away, balancing on the narrow planks connecting to the landlord’s boat.

Feydor made the air stiffen. It felt as though a storm were about to strike.

Nikki’s dreams were scattered like debris after a hurricane. All she had wanted to make of her life now seemed out of reach.

She’d made too many wrong turns. Could she ever get back on the path? Did Anatol know the way?

Maybe Anatol was manipulating Feydor. Maybe he was just being a good salesman. She had tried sales. Nikki had sold clothes, jewelry, insurance, stocks and bonds. She was good at it, especially the insurance and equities. She’d made quite a bit of money, which had all gone up in smoke, or up her nose. That had ended in hell, and that’s when grandma had sent her to Israel.

Her eyes followed the burly Russian’s footsteps on the wooden boards. She looked at the Kashmiris, who, with the addition of a watch here and a calculator there, wore the same clothes, beards and jewelry their ancestors had worn for generations, then her gaze melted into the color of the earth along the shore, the green hills and snow-clad Himalayas, the centuries of time and space and matter, settled into this moment in a corner of Asia.

People haven’t been long on earth, she thought. Before the rocks, plants, water, animals, there was nothing. No world. Yet other people-less planets revolved according to mathematical certainty, with spinning heavenly bodies, explosions of gas fireballs and black holes sucking solar systems into little dark boxes. Nobody watching.

Nikki was watching Fedor as he reached the shore. The heavy Russian climbed the bank towards the road. Nikki caught sight of a Kingfisher, iridescent as a polished bright blue jewel; it plunged, striking the water with an ungainly plop as it snared a silver fish in its sharp beak.

A sudden, blinding flash lit the periphery of her vision. The roar of the explosion and her screams pulsed through her like shock waves. Tossed like a rag doll through a torrent of smoke and shrapnel, her body plunged into the lake. Her head pounded. Water rushed into her mouth and nose. Breaking the surface she could feel the heat. The boat was aflame. No sign of Anatol. The Kashmiris were shouting and running, trying to extinguish the fire. Nikki saw one of the children, a little nine-year-old boy named Samid, lying on the deck, a piece of wood piercing his neck.

Staring at the boy’s blood-covered face, Nikki felt her own flesh starting to burn with pain. Her arms were weak; she could barely tread water. Cold weeds clutched at her legs. The black smoke obliterated everything. She heard Anatol’s voice. It sounded like it was coming from the bottom of the lake. Or was she on the bottom? Was that the murky surface above her?

Everything was going dim.

Thoughts that had been soaring through her mind at the speed of light slowed and stopped. She heard Anatol’s voice again.

But she couldn’t recognize the man looking down at her.

Doctor Singh could have been a wingless angel with bushy eyebrows. He was dressed completely in white, including his large turban and the mask netting his overflowing beard. Nikki could hear his voice, but the words were unclear. She couldn’t tell where she was but assumed it was a hospital. There were bright lights and medical equipment; she could hear

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the beeping of a monitor displaying the even bounce of her vital signs. The room wasn’t really dirty, but it wasn’t clean either. She didn’t know whether to laugh or cringe when she noticed a rat running along the distant wall.

When Nikki awoke later, she was in a room somewhere. A breeze billowed the green and yellow gauze curtains. She lay under a sheet and coarse woolen blanket. A man in uniform stood with his back to her. He turned, with an official smile.

“I’m inspector Gupta.” His neat, well-groomed mustache pointed out from below a prominent nose. His mouth was tightly drawn, but his dark gray eyes emitted a gentle twinkle. “I hope you are feeling well,” he added.

Nikki felt better, but not well, and everything seemed very strange.

“Who is Anatol Atlan?” Asked the inspector.

“Is he okay? Where is he?” She blurted out.

The inspector walked to the window and looked out, then turned back to her. His Indian English was clipped and officious.

It shot out in a military cadence, “I know all about him. You better come clean with me young lady.” Gupta took three steps toward her and stopped, “Indian jails are not the nicest place to spend one’s youth.”

“I don’t know what you’re talking about,” said Nikki.

Far to the north, in the rugged region between Afghanistan and Pakistan, Feydor exited the Land Cruiser and stood resting his right palm on the handle of his holstered 9mm pistol. He was sure this was the place, but there was nobody there. The mountain walls whispered secrets of smugglers, outlaws and invading armies. Many of them died in these passes, and the red earth looked like old, dried blood.

Inspector Gupta remained serious, although softening just a little. He wanted Nikki to feel his concern, “Look, Kashmir is a very dangerous place. Terrorists are willing to do anything to attack India’s sovereignty. Pakistan is funding them, arming them and supporting their murderous ways. The only thing we can do, short of declaring another war against Pakistan, is to rein them in. Let them know that to engage in terror here will mean certain capture and likely death, and that their campaign to oust India is as doomed as they are.”

Nikki shook her head, “What has any of this got to do with me?” she asked.

“I need to know what you know,” said Gupta. “Sometimes foreigners get mixed up in things that are way beyond their control.” The inspector studied Nikki, but she remained silent. He changed his tack, “Many times they are motivated by what they perceive as humanitarian concerns, but unfortunately their actions often only cause more pain and suffering. It’s ironic. Tragic.”

Nikki raised herself up onto her elbows, “Where is Anatol?” she asked. “Why are you telling me all of this? Anatol wasn’t involved with terrorists. He loved India. He hated terror,” she said.

Feydor walked back to the Toyota and peered at the package lying behind the seat. He was getting ten million in cash for the suitcase bomb. One of the smallest, most portable nuclear devices ever made, it was one of about 25 the former Soviet Union had had in its arsenal.

Even in bribe-hungry, post-Soviet Russia, the bomb had been hard to get. Feydor had killed two men and traded $3 million in stolen heroin to get it. He didn’t care that the terrorists he was meeting here would probably use it in New York City, Los Angeles, or Washington. And he wasn’t afraid they’d kill him and steal it. They could see his vest and knew he could blow them all to bits by pushing the button on the device he held extended in his hand, and would, if they tried anything.

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He’d come alone, but he felt safe. Nobody else knew about this. Who would suspect an Israeli of delivering a nuclear bomb to Muslim extremists?

Gupta started to speak, but Nikki interrupted him, “Why don’t you ask Anatol these questions? He would help you if he could. I know he would.” She tried to hold the black thoughts at bay. It was probably one of Gupta’s ploys to keep her guessing. He thinks Anatol might be the enemy. That she might be the enemy.

The inspector looked at the gauze curtains floating softly on the breeze. “Preliminary investigation of the explosive device used on the houseboat you were occupying showed that it bore the signature of Hizbul Mujahideen,” said Gupta. “You must have been targeted for a reason.” His face grew intense, “Anatol is involved in espionage. You must tell me what you know.”

Feydor had had a scare when he discovered that Anatol may have been suspicious. Feydor knew Anatol was an idealist.

Even the money wouldn’t have interested him. Anatol would be willing to suffer to stop suffering in the world. Feydor was more realistic than that. The world he lived in had taught him that goodness was often rewarded with death. Anatol was good, and Anatol was dead.

Nobody would figure that one Israeli agent would kill another; besides, he’d covered his tracks. The situation was too sensitive for Mossad to do anything overt, and Feydor had been pulling the wool over their eyes for more than a year. It was too bad about the girl, though. Feydor had really wanted to fuck her. But $10 million would buy a lot of women, and anything else he might desire.

Feydor saw his contacts coming in the distance. Everything seemed to be in order. He reached into the Land Cruiser and grabbed the suitcase bomb by the handle, lifting it out through the door.

Nikki stared at Gupta. His eyes were moving around the room, unwilling to meet hers, and a horrible feeling was beginning to strangle her heart. Blackness spread through her mind like ink squirting from a squid.

Gupta’s voice was softer, sympathetic. “We need your help to catch his killers,” he said. “To bring them to justice.”

The inspector had arranged for a hotel room for Nikki. She had a ticket for New York.

Buttoning her blouse in front of the mirror, she turned, gazing through the window. A group of Tibetan refugees huddled on the corner below, hand-woven blankets wrapped around their shoulders, turquoise stones adorning their earlobes, a thousand years of struggle and faith finding balance in their faces.

Nikki reached into her pocket and withdrew the six-pointed star. It felt both foreign and familiar in her hand.

The world is too big, thought Nikki. Forces set in motion can, like pristine drops of melting snow high in the Himalayas, become raging torrents miles below, inundating villages and annihilating lives.

The world is too small. It fits in one man’s smile and can be destroyed in one woman’s heart.

Nikki held the star in her hand, rubbing it gently as she stared into the mirror. She saw King David’s eyes. They were looking for justice. They were looking at tears.

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